Wii 
hl i} 


: 


Ser eaeeer 
pti 
tiatihi 


ee 
ea 
a Re a ee ere ee eee 

a 

nearer aN ne a TT A LA A TL CTT Re SNE 

= 
eS 
EEE 

a cea ae 


“4 


: |} no halting from then to the end, norany notic 
fl abietesses in 


: “TOTAL OF $2 79, 655. 


$a Bonheurs * The. aie of the ‘Flock’?! 
‘Goes for $4 200, the Highest Price of the. 
rst. Night’s’ Sale—Isidor Wormser, STs 


of This City,. the Purchaser—Other Prices. 


“Thomas E. Kirby, forthe ‘American ‘Art Asso-. 
elation, began the executors’ sale of’ certain. 


‘ pictures’ fromthe Powers ‘Art: Gallery:.col- 


lection: of Rochester, ° ate “Ohickering Hall: 
Jast: evening, and” ‘disposed. ‘ot. cninety-seven | 
’ paintings for © $29.655,< or = ate an > average” 
‘of: nearly © $306° apiece. - ‘Fourteen ‘of? the. 
paintings brought: $15,375, Or am average “of: 
‘nearly $1,100 apiece. 


i nineteen of the whole lot’ went.at. less than |) 
, $100 gach, it will be. seen how the average prica 


{was brought down,. althcugh:as a matter of; 
tact prices ruled low for. they most part.during 
the evening... Sct : 

“Four of the paintings brought. better than a 
thousand: dollars each. “The highest: -price of. 


We, 


Sess ea 


haeur’s: *’ Tha. Phoita’: ‘oft “the: Flock, tb which 
Isidor:: Wormser,:. s 


figure: - to ‘that: 


Meyer yon Bremen‘: “Girk Reading” went to: 


Jsidor Wormser,. M. Rico’ 3 ‘Scene: in. Venice’. 


beonent: $1,200, and Sareea) % Phe Sentinel. : Pe 
iF ‘| 55) Voltz’s 


| eer G@: ‘Vibert’s 
| next at $825 each. and were followed b 


. ; man Johnson’s “ The Reprimand.” at$ 


Some of the paintings offered i ag Gale 
f isfactorily, and there were some bargains. High | 


» bidders. were. not greatly. in. evidence, but'as:: 
the ees {nteresting numbers:in the collection: 
‘to: be: sold 
“night’s and to-morrow night’s sales,: atthe: 
i rem place, they. may ‘ ‘be. expected, to: appear, 


P 
! 
ie 


‘eight years ago... [t.-.was> wall. atong:-in.- the? 
evening’s catalogue, and when it was exhibited” 
there was an -impulsirxs tendency to anplaud:: 
at ‘one -side of. the halibut.‘ the- impulse? 
was. repressed: when’ the: first -bid- 
called at $1,000. The bidding “advanced” by. 
$100 at a call to 32.000, jumped to $2,600 an 

went.on again at $100 advances to the knock’! 
down price: In comparison-with the figures of 
.the last public salas: of the two paintings, * Tha, 


Choice of the F lock ” held its own better thant 
Bip ta eabenes = a on Pomenan. | 


the Leloir, which 
‘aoliaetion. far £2. 2 


- When. it. is: stated. that.| 


i thatranick. almost eager, biddin 
{ the house sent the price up to” 


Sifter this, started at $500: * The: 


| £3. Henner’s 


ye An Thevew! Gana” aa ‘came 


Bs 
#2 
= thesnight was $4,200," fetched by: Rosa Bon-: 
Lat 
fe 
Ls 
| by Hast= 


here are on: the catalogue. of: to-"} | 


wast} ) 


| 67. Josep Coomans’s * * Phidias, “in. His Ate- 


Sa vin 
‘The masterly Bonheur brought within $1, ‘etl © 87. Rosa Bo shou’ 


~of the price it commanded at the Seney sale: 


ey heSEGTY Rea viig.” 4 ean vas 16% SEESCECHGE: | 
proved so attractive to the patrons of the:sals 

from a orer 
1,000 aboutas 
fastas the bids tould -be eailed,and there was 


at ni ao a 


ee eee 


of the. number of bidders until 


nt itlyat the Pat 
The" Scene in. Venice,” put- up. immediate! 
-Gérome some=- 
body attempted..to. start. at. 400.. ‘Somebody. 
else said $700, and prasently from: another. 

partiof the houssa $1,000 was’ called, ‘the: first, 
‘Pia which: ‘the auctioneer felb eall du 
recognize. 
The? ‘inference might be. rawn nfo msomeof | 
the. prices of last evening that’ Mr. lee was. 
a ‘liberal: buyer.’ Certainly: the attitudes of © 
Mr. Powers and’ some-of last-night’s-biddoers _ 
in ithe: ‘matter of press ‘differed’ perceptibly. || 
‘THe very large paintings offered aroused slight. 
interestand the prices were corresponding |y. | 
jow. K.F. Sohn’s*‘ Diana and Her Nymphs,”’: 
for which A. T. Stewart,: according to report; | 
paid several thousand. doll ars. went for $300: 2. 

Most of the higher. prices brought.and “the! | 
ames. of ee purchase wh ithheld, 
follow:. ae 
Catalogue: ’ “F 
. mumber. ? LrOE title, and: Purchasers : 
\.9. Jules. ‘Breton’ ie “+ Portrait: “Himself, 
© Knoedler & Co: 


18. eimeereey a ‘* Garibaldi’s Captor Home,” 5 
te Gustav brie pce 


SLL EALIIO TEL 


ean eevee ope 


27. De peli: s Rita Bane sieve ”G. B Sitar a 
28.\Kdouard Frére’s *‘ Maternal. ‘Love,’ ‘3 RB MM 

“3° Lindsay Tv PR ey cerry ee ee 
20% Ae ett: 3 An Uneven Game, C “Cunning: 


39. Eastman Johnson’s THe | “‘Reprimand,” ae 
“Yo TLE. Heimerdinger: : ‘ SPARE T 54 
4% G. E. Bouzhton’s. Katrin: yan Tassel 
--$.P. Averr; dr. 

42. Courbet’s "' ‘The Stone Breakers,’ Uf ech: 
* Though tful’’ BE. Morgan. : 
46, Gérome’s.‘* The Sentinel: at the Sultan’s 
Tomb,” Ht es Hayess Sas 
te Cattle, Meisenger ‘Lake,’ Ke Arius 
“FPooth.& Sons. ae 

62. Meissonier’s (Bis): The: yee 5 
AERA oe BRS 2 x EA Palmer; a, choke Pugh ant, 

ase ‘Griitzner's ‘"A Flying Visit,” A > Roitiees 


x Her,” Saishe: 
68. Julien Dupre’s. “phe: “Harvesters “Méal,”* 
Ae RuM: Lindsay; asi PO args 
TO Merile’s “* Tntevea pied Wiliam Schaus 
G1liVeu Brozik’s ‘* The Falconer’s- ee a 

Eug: ne Bischotf-< 
72. Pilts 3° *Tunch Tithe ‘in ‘the Hind sees 


alee SstuP Snee 


phe Choice’ of “the r 
Flock,’’.T. Wormser, dre. 
88- Louis Leloir's “Temptation ‘of ‘St: An 
thony,”’ voatgs uy 

so. Eesrel's.‘’ La Chanson, ie 
93; Luben’s ‘‘ Under she Hammer," } 
it © sfahon: ohne Snes Rode oak ee 
- Sohn’ s Diana and tNymphai—— 


a5 aerag co 


,> # th, 
=: = 
v 


ae | 
Fe 


were sold last night, 


Saadg imeniez, Soe 8 
mat acy’ 
146; ‘Knaus’ 8 


2uy 


~ 


b0. 1 [adrazo’ 5 “La Belle Désoeuvrée”*. Pig 
naa Ziem's ‘“View in Venice’? .:.2......... 
23 3. ADs ire Dewey’ s ‘‘ Brown and. Sere,” bought 


by R. M, Lindsay’ 

He Vibert’s 
2. Anton Seitz’ 8 ‘The King of the Rifle- 
~ men; bought by Julius Oehme .....:.. 
183. Erskine Nicol’s ‘‘Patience Is a Virtue, on 
James McCormick 


a a eo ae ced 


SOFC Oe aor eee me eoas ane 


i i ce i oe a ee ie i ary 


Avery, We LAAT AEN Se Wowie alg Pony sie ttil Mis 
. Henner’s “‘ Madeleine’... 


. Diaz’s** 


‘Landsea: ie with Mater? ieee 


sete ee 


¥. Troyon’s “The 8 
151. Verboeckhoven’s: te 


epherd (3 Sealed te 
The Sheep Cote’... 


$45,020. . The total pro- 
anew $74,675 for 197 


Dinara a The 
oom to 8. P. Avery, Jr. 
came Henner’s “Made- 
The - purchaser’s name 
public. The 


it up and there w Jae as reaeer| as 
8 eRe Oss of on 
-exels ion ““Loyel My t Eee 


“ea coming mainly {ie 


Ma the men co- 


Henner | 12° 


we interest than any |. 
"gen ral - inte sf ‘190. Munkatey e200 Mien Mother-in-Law,” 


« Roy bet’s 


: Velasquez Painting the’ ‘In- 
fanta’’ 


4. J3.G. Brown's “The Challenge’? 0.) 5.0. 
. R. 8: Zimmerman’s HEAD tie ar for ‘the 
¢ Rehearsal, nis bought by 8. P. Avery, Jr.. 

. Richter’s * “Sappho Pa Dee beiNed a rar olny 

68. Perrault’s “‘ Azores Education;’’: bought 

by E. N: M 

. Zimmerman’ "si Boys’ Industrial Home’. 

179. Bridgman’s ‘’ Afternoon Hours’’,......... 

f. Levolle’s ‘‘The Wanderer’’..........2.. 0.5 

. dules Worms’s “‘ Before the Alcalde’... 

Escosura’s ‘‘ The Visit to the Car dinal’’.. 

Schreyer’s “Hungarian Draught Horses, a 
bonght by Arthur Tooth & Sons........ 


MéGOTMIGK 2 odd lebdcks eee Se 

194. pices ‘‘ Elizabeth and Frederic of Bo- 
hemia Receiving News of the Loss of 

_ the Battle of Prague’ 


Ce i ee ac ees 


The picture is ee 
afin young woman read 
on her hand, ig He 
a Ay ‘gmall eanvas, 19 by | 
ets, Sede Draught | 
| Bk da - cee, ve 
ran a! Be nis ar- 
$1,900. Shanes sale of 
z roueht $e. bee 
Dead ‘Broke,” which. went 
owers much more than te 


ob anaes i 
bong ee re a were called send: 
Haygiore instanees bidders were found to 
te reluctant. After es a ortani num- 
e catalogue had be or the most | 
sed of t eeGandanie: began to thin | 
9 of. the, paintings bought, it is un- 
are go to Europe, among then 
“The Conaneror Conquered” and’ 
“ Blindman’s Buff.” 
i) cht will. close. the sale. Following the | 
gs a number of pieces of sculpture an 
ome bronzes and enamels are to be sold 
are seventy-four more of these paintings 
lection, which represented in all some 


are ese: 


[eet Lindenschmidt’s. ‘Luther and the Re- 
Lanka at Marburg, 1529,’ bought by 
Asha DEER Ne sawh cary ain Lh eae bette 

lage. Moreau’ git Rehearsal of Richelieu’s Trag- 
edy ‘ Miriam’ ’ 


cte : 
‘paintings: which sold at, ae OY-OVer | 


15) B 
di eines SAVED ie THE LAST, 


) “$7,600. Paia Pee Zamacois’s **‘Levying Con- 
4 tributions,” and $6,600 for Bouguereau’s 
bs “Little | Pilferers’’—Other High Prices. 


Some of the really fine paintings collected by 
the late Daniel W. Powers for his art gallery in 


| nights, were sold by Thomas E. Kirby, for the. 
+ American Art Association, at Chickering 
Hall last evening, the concluding evening 
| of the sale ordered by the Powers execu- 
| tors. Fifteen of them commanded an average 
price. of (nearly $3,722. The seventy-six | 
| that. were. sold during the evening brought 
; $69,400,.as against $74,675 for the combined | 
sales of the first two evenings, when 197 pic- 
| tures were disposed of. The total for the 273 is | 
| $144, O75. The big clock (from the A. T. Stewart | 
' collection) was sold to CO. Lambert for $1,950. 
Fourteen pieces of sculpture brought $2,570. 
Oriental enamels and bronzes, taking up ten 
catalogue numbers and including some pairs 
-and the stands made for the pieces, were sold 
for $1,720. These figures make a total of 
$150,315 realized from the sale. 
| The highest price of last evening and of the 
sale was commanded by Zamacois’s “‘Levying 
Contributions,” which was exhibited at the. 
Paris Salon of 1867. A thousand dollars was 
offered on the instant, $2,500 before Mr. Kirby 
| could speak, $3,000 next and $4,000 in less than 
a minute from the time the painting was ex- 


posed. The bidding was spirited up to $7,600, at 
which ee the Reine was knocked down to 
R. M. Lindsay. r. Lindsay is a Philadelphia 
art dealer era very likely was commissioned to 
purchase ¢ Zamacois. The spectators who 
were not buyers applauded when the auc- 
tioneer’s gavel fe I. 

Bou aes “Tittle Pere. ” brought out 


‘a $5, on the spot, $5,500 followed im- 
aden “oe the price was sent up to $6,600. 
|The purchaser’s name was withheld. Durand- 
Ruel & Co. took Fromentin’s *‘ Arab Falconer ” 
for a hundred dollars less than the gat fe 000 
commanded, the biddin Cor ne 2,500 
and moving ‘at jumps to £3 ¢ 000 aie Oo 6 
is the fine painting that was in iteee draneee 5 

collection, 

! Diaz and Géréme brought the next highest 
prices, the former’s ** Forest of Fontainebleau” 
eon at. $5, th and Géréme’s “ Bab-el-Zouel” 

at $5,100. The other sales were at less than 
The single van Marcke, ~ Cat-. 
He? witen ont at $4, ipo started at $1,500 
and . jumped to $3,000 and then to $4,000. 
Bly’s he Heart’s Awakening,’ which sold 
375, cost Mr. Powers $3,000. 


Rochester, very few of which had been scattered | 
_through;the long catalogues of the first two | 


Fe > 


Se 


a VALUABLE PAINTINGS 
SCULPTURE, AnD GRAND CLOCK 


SELECTED FROM 


THE POWERS ART GALLERY 
COLLECTION 


TO BE SOLD AT ABSOLUTE PUBLIC SALE BY ORDER OF THE EXECUTORS OF 
THE LATE 


DANIEL W. POWERS 


ROCHESTER, NEW YORK 


On WEDNESDAY, THURSDAY AND FRIDAY EVENINGS, 
JANUARY 18TH, I9TH AND 20TH 


BEGINNING PROMPTLY AT 8 O’CLOCK EACH EVENING 


APMC KERING HALL 


FirtH AVENUE AND EIGHTEENTH STREET 


THE COLLECTION WILL BE ON EXHIBITION, DAY AND EVENING, FROM 
WEDNESDAY, JANUARY IITH, UNTIL DATE OF SALE, 
INCLUSIVE (SUNDAY EXCEPTED) 


AT THE AMERICAN ART GALLERIES 


_ MApIsoN SQUARE SOUTH 


THOMAS E. KIRBY THE AMERICAN ART ASSOCIATION 
AUCTIONEER MANAGERS 
NEW YORK 
1899 


CONDITIONS OF SALE. 


1. The highest bidder to be the buyer, and if any dispute 
arise between two or more bidders, the lot so in dispute shall 
be immediately put up again and re-sold. 


2. The purchasers to give their names and addresses, and 
to pay down a cash deposit, or the whole of the purchase- 
money, zf required, in default of which the lot or lots so 
purchased to be immediately put up again and re-sold. 


3. The lots to be taken away at the buyer’s expense and 
risk upon the conclusion of the sale, and the remainder of the 
purchase-money to be absolutely paid or otherwise settled for 
to the satisfaction of the auctioneer, on or before delivery; in 
default of which, the undersigned will not hold himself respon- 
sible if the lots be lost, stolen, damaged, or destroyed, but 
they will be left at the sole risk of the purchaser. 


4. The sale of any article is not to be set aside on account 
of any error in the description. All articles are exposed for 
public exhibition one or more days, and are sold just as they 
are, without recourse. 


5. To prevent inaccuracy in delivery, and inconvenience in 
the settlement of the purchases, no lot can, on any account, 
be removed during the sale. 


6. Upon failure to comply with the above conditions, the 
money deposited in part payment shall be forfeited; all lots 
uncleared within the time aforesaid shall be re-sold by public 
or private sale, without further notice, and the deficiency 
(if any) attending such re-sale shall be made good by the 
defaulter at this sale, together with all charges attending the 
same. ‘This condition is without prejudice to the right of the 
auctioneer to enforce the contract made at this sale, without 
such re-sale, if he thinks fit. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 
THOMAS E. KIRBY, 
Auctioneer. 


IN THE 


ARTISTS REPRESENTED 


DANIEL W. POWERS COLLECTION 


Achenbach, O. Col Fink 

Adan Constant Frére, E. 
Alvarez Coomans Fromentin 
Anders Corcos Gabani 
Apol Corot Gaisser 
Arnoux Courbet Garcia 

Artz Couture Garrido 
Atalaya Coxe, R. C, Gay, E. 
Ballavoine Crosio Geibel 
Ballve Dambourgez Gérdme 
Beard, W. H. Danger Giroux 
Beauquesne Daubigny Gonzales 
Becker, Prof. K. — De Buel Gruppe 
Benedicter De Chambord Griitzner 
Benlliure Defaux ~ Guisser 
Beno-Adam Defregger Guyot 
Blume De Grave Haanen 
Boggs De Grossi Hagborg 
Bonheur, Mlle. Rosa Delacroix Hagemann 
Boughton Delaunay Haquette 
Bouguereau De Vos Hayon 
Boutibonne Dewey Henner 
Breling Diaz Hildebrandt 
Breton, Jules Doré Hiller 
Bridgman, F. A. Du Bufe Hoff 
Brown, J. G. Dupré, Julien Hooghe, P. De 
Brozik Dupré, Léon Victor Huntington, D. 
Bruck-Lajos Duverger Hyon 
Bunner, A. F. Erdmann Jacomin 
Cazin Eroli Jacquet 
Ceramano Escosura Jakobides 
Chapin Falat Jardon 
Chetwioski Fasce Jimenez-y-Aranda 


Claude Lorrain Ferry Johnson, Eastman 


6 ARTISTS REPRESENTED. 


Jones, S. C. Neuhaus, F. Schutze 

Kever Nicholls, B. H. Seignac 
Kindsdael Nicol, Erskine Seitz 

Knaus, Prof, L. Ochmidien Simoni 
Koriecs Ommeganck Sohn 
Kowalski Outin Soulaereir 
Kraemer Palizzi Staneck 

Kray Palmaroli Story, G. H. 
Kronberger Papperitz Streitt 
Lachenwitz Pasini, A. Tamburini 
Lambert Penne Teniers (the Younger) 
Lampert Perez Teniers (the Elder) 
Leloir Perrault Ten Kate, H. 
Lemaire Petersen Thompson, H. 
Leman Pezant Thors 

Lerolle Piloty Toulmouche 
Lesrel Piltz Troyon 
Lindenschmidt Piot Van Marcke 
Luben Piotrowski Véely 

Madrazo, R. de Plasert Verboeckhoven 
Makart Poil Verhas 

Mauve Post Vernet, Horace 
Max Rabe Vibert 
McCord Raffaélli Vinea 
Meissonier, J. C. Ravel Voltz 

Mencia Ricci Walker, H. 
Menzler Richter Weeks, E. L. 
Merle Rico Willems 
Meyer von Bremen Rigon Winterhalter 
Millet, Francois Romako Wood, T. W. 
Miralles, F. Rousseau Worms 
Moreau Roybet Wright 

Mosler Salmson Yensd 

Muller, C. L. Scalbert Zamacois 
Munier Schlesinger Zampighi 
Munkacsy Schmidt Ziem 

Murphy, J. F. Scholz Zimmerman 
Nechutrey Schreyer 


BIOGRAPHICAL NOTES AND INDEX. 
' ACHENBACH (Oswa tp), Germany. 


Born at Diisseldorf, 1827. Brother and pupil of Andreas 
Achenbach. Medals, Paris, 1859, 1861, 1863. Legion of 
Honor, 1863. 


No. 13—Garibaldi'’s Caprera Home. 
ADAM (BENNO), Germany. 


Born at Munich, July 15, 1812. Son and pupil of Albrecht, 
and one of the best animal painters of the Munich School. He 
has been called the German Landseer on account of his skill in 
treating domestic animals, combined with human figures. 


No. 115—Ass and Colt. 
ADAN (Lout!s femite), France. 


Born at Paris, March 26, 1839. Pupil of Picot and Cabanel. 
Medals, Paris, 1875 and 1882. 


No. 235—Varguerite. 
ALVAREZ (Luts), Spain. 


Born at Madrid in 1841, in narrow circumstances, and early 
left an orphan. He contrived, however, to secure entrance at 
the Academy, and made his way thence to Rome, almost penni- 
less and without resources to call upon for aid. His first pict- 
ure, exhibited in Florence in 1861, though completed in the face 
of the most depressing difficulties, obtained a medal, and was 
purchased, when he carried it to Madrid for exhibition, by 
Queen Isabella, who pensioned the artist in order to enable him 


8 THE POWERS COLLECTION. 


to continue his studies. King Amadeus continued Alvarez in 
favor and gave him government commissions, and he has re- 
ceived honors from King Humbert of Italy. He has been one 
of the most influential men in shaping the present Spanish 
school of art. Wasa pupil of Madrazo the elder. 


No. 125—iide and Seek. 
ANDERS (E.), Germany. 


Pupil of Diisseldorf Academy. 
No. 83—Mother’s Love. 


APOL (Lovts), France. 


Contemporary French School. 


No. 101—Aiver Scene. 
ARNOUX (MIcHAEL), : France. 


Born at Paris. Contemporary French School. Pupil of Pierre 
Edouard Frére. 


No. 236—Zhe Old Hunter. 


ARTZ (DAvip ADOLPHE CONSTANT), Holland. 


Born at The Hague, 1837. Pupil of Mollinger, later of Josef 
Israels. He made his first impression as a painter of peasants, 
but during later years, possibly because it had been said that he 
had taken his cue from Israels, he gave his attention mostly to 
depicting the life and character of the Dutch people who dwell 
near the sea and gain their livelihood from its waters. His first 
exhibits at the Salon won for him recognition in the Paris art 
world. 


No. 250—Gathering Wild Flowers. 


BIOGRAPHICAL NOTES AND INDEX, 9 


ATALAYA (E.), Italy. 
Contemporary Roman-Spanish School. Studio in Paris, 


No. 128—An Outing. 


BALLAVOINE (Jures Frépfric), France. 


Born at Paris. History and genre painter. Pupil of Pils. 
Awarded a medal of the 3d Class, Paris, 1880. 


No. 98—A Dream. 


BALLVE (H.), France, 


Contemporary French School. Studio in Paris. 


No, 203—Gathering Fagots in the Forest. 


BEARD (WILLIAM H.), United States. 


Born at Painesville, O., 1825. Began as a traveling portrait 
painter; settled in Buffalo, N. Y., 1850, and visited Europe on 
his savings in 1857. Studied at Diisseldorf, and painted and 
sketched in Italy, Switzerland, and France. Settled in New 
York City, 1860; became a National Academician, 1862. 
Adopted animal painting as his specialty, investing his pictures 
with an interest of idea by giving to the brute creation a sug- 
gestion of the action and expression of the human race. 


No. 51—Voices of the Night. 
No, 218—‘‘Go When I’m a Mind To,” 


BEAUQUESNE (Witrrep C.), France. 
Born at Rennes. Pupil of Horace Vernet and Emile Lecomte. 
A painter of military subjects and battle scenes. 

No. 209—7Zhe Alarm. 

No. 220—Bugle Call. 

No, 254—Ox Guard. 


Io THE POWERS COLLECTION. 
BECKER (Prof. KARL), Germany. 


Born at Berlin, 1820. Pupil of the Berlin Academy, of Von 
Klober, of Heinrich Hess, and Cornelius, and Pensioner of the 
Berlin Academy at Paris and Rome. Member and Vice-Presi- 
dent of the Academy of Berlin. Member of the Academy of 
Vienna and of the Royal Society of Letters and Fine Arts of 
Belgium. Officer of the Order of Leopold. Medals at Berlin, 
Vienna, Munich, and Paris. 


No. 69—J/tahan Mother at Prayer. 


BENEDICTER (Joser), Germany. 


Born at Fischingen, Wiirtemberg, June 4, 1843. Architecture 
painter. Pupil from 1863, of Munich Academy, lastly under 
Professor Alex. Wagner, until he joined in the campaign against 
France in 1870. After the war he went to Holland, and in 1876, 
visited Florence, Rome, and Naples. 


No. 35—A Dutch Kitchen. 


BENLLIURE (José), Spain. 


A leading member of the Spanish colony at Rome, José Ben- 
lliure combines in himself the kindred gifts of the painter and 
the sculptor in a high degree. He isa native of Valencia, where 
he was born about 1858, and a pupil of Domingo, under whose 
able tutorship his talent ripened early into original brilliancy and 
strength. He secured his first honors at the Madrid Salon, and 
after his settlement in Rome became a popular exhibitor at the 
exhibitions of Italy and Germany, whose medals followed that 
of his native country. At the Munich Exhibition of 1889 his 
was one of the works purchased for the National Art Museum, 
and they are received with equal favor in England, where they 
figure in the leading private collections. Sefior Benlliure is one 
of the artists pensioned by the Spanish Government for residence 
in Italy, and some of his most successful and ambitious com- 
positions have been executed to the order of the state for the 
decoration of public edifices, His fine color, spirited technique 


- 


BIOGRAPHICAL NOTES AND INDEX. Il 


and close appreciation of the picturesque, place him among the 
foremost of the bright galaxy of artistic stars who sustain for 
Spanish art to-day the honors won for it by Fortuny. 


No. 11—Zhe Picador’s Reward. 


BLUME (Epmunp), — Austria. 


A native of Vienna. A painter of genre subjects, particularly 
those relating to the Tyrolese peasants’ life. 


No. 82—Grandma’s Story. 


BOGGS (FRANK M.), United States. 


The French, who are always keenly appreciative of the dramatic 
quality in art, were the first to hailin F. M. Boggs a painter of 
sea and shore who could not only convey the impression of what 
he saw, but of how he felt it, too. Born at Springfield, O., in 
1855, it was not until 1880 that he appeared in the Salon as an 
exhibitor. His recognition abroad was immediate. His first 
Salon picture was talked about. His second, in 1881, was pur- 
chased by the French Government for the Luxembourg collec- 
tion. This wasa representation of the ‘‘ Place de la Bastille,” 
handled with striking effectiveness, yet a close adherence to the 
fundamental and characteristic facts of the subject. At the 
Salon of 1882, the French nation again set the seal of its ap- 
proval on his art, by the purchase of his ‘‘ Port d’Isigny,” in 
which he showed, asa marine painter, a power quite equal to his © 
previous manifestations in another line of subjects. Medals at 
foreign and American exhibitions followed each other in rapid 
succession, and his free and dashing style, a sort of gallant in- 
dependence of thought and execution, as of a man who saw 
nature alive and painted her so, commanded the public ad- 
miration, while it secured the approbation of more critical and 
analytical minds. At the first Prize Fund Exhibition at the 
American Art Galleries, in 1885, Mr, Boggs secured one of the 


12 THE POWERS COLLECTION. 


$2,500 awards with his ‘‘ Rough Day at Honfleur,” which is 
now in the Museum of Fine Arts, Boston. 

No. 122—View of Dordrecht. 

BONHEUR (ManrIE Rosa), France. 


In her ripe old age, the most distinguished member of her sex 
in the history of art can look back to her youth of trial and 
struggle over a life rich in all the rewards that perseverance can 
conquer for genius. Born of an artistic family in 1822, at 
Bordeaux, Rosa Bonheur’s entry into art was attended by a 
bitter poverty, that sometimes threatened to end in desperation. 
Her father, a worthy and industrious but unfortunate artist, 
brought her to Paris in 1830, after the death of her mother, 
and narrow as his means were, put her to school. But the girl, 
born an artist, rebelled against mere book-learning, and rather 
inclined to share with the boys their truancies in the fields. She 
had acquired some skill in drawing, from imitating her father at 
his work, and this art she cultivated at school to the neglect of 
most of her other studies. Finally, the conviction of her voca- 
tion forced itself upon her father, and he removed her from the 
seminary, and set her to copying pictures in the Louvre. From 
the start she gained a little money by the sale of her copies, 
and of little studies and pictures painted at home, and after 
assuring herself that she might hope for patronage, she turned 
her attention largely to the painting of animals, of which she 
was very fond. The oddity of a young girl choosing such a 
field of labor attracted attentionto her. Her ability commanded 
respect. Ina modest way prosperity began to come to her, and 
with every annual exhibition her fame grew and her admirers 
multiplied. Her first original pictures were exhibited at Bor- 
deaux, in 1841. One represented two rabbits, and the other 
goats andaram. In 1849 she was made director of the Paris 
Free School of Design for Young Girls, and in 1853 she crowned 
her fame with the great ‘‘ Horse Fair,” now in the Metropolitan 
Museum of Art. Every possible honor has been conferred upon 
her by her own country and other European states. The high- 


BIOGRAPHICAL NOTES AND INDEX. 14 


est, perhaps, was that embodied in the order of the Crown 
Prince, late the Emperor Frederick, of Prussia to his army, to 
rigidly respect her house and studio, when the surges of war 
fairly washed its walls with blood. Surrounded by her pet beasts 
- in her uninvaded garden, she alone, of all the artists of Paris, 
was able to continue her devotion to her art during the great 
war that swept the last Napoleonic Empire out of existence. 


No. 87—Zhe Choice of the Flock. 
BOUGHTON (Grorce H.), United States. 


Although of English birth, and for the past thirty years a resi- 
dent of his native country, the United States still claims George 
H. Boughton as an American artist. Nor is this without reason, 
Born in England in 1834, he was brought to this country in 1837 
by his parents, and at Albany, N. Y., commenced to instruct him- 
self in the art for which he manifested talent in his earliest boy- 
hood. It was at Albany that he opened his first studio in 1850, 
and the old American Art Union was almost his first patron. It 
was on the proceeds of its patronage that, in 1853, he went to 
Europe to improve himself in his art, and from this journey he 
returned to resume his residence in Albany, and subsequently in 
New York City, where he remained several years. His first ex- 
hibit at the National Academy of Design was made in 1858, with 
**A Winter Twilight,” and it was not until 1859 that he returned 
to Europe, first settling down to study in Paris, and in 1861 go- 
ing to London, where he has since remained. In 1863 his pict- 
ures made their mark at the British Institution, and in 1864 at 
the Royal Academy. American collectors continued their sup- 
port, and English connoisseurs recognized and encouraged him. 
Thus began for the artist a career of phenomenal success, which 
time has only augmented. Mr. Boughton became a National 
Academician in 1871, and a Member of the Royal Academy 
in 1888, and has received many continental recognitions and 
honors. 


No, 41—Xavrina Van Tassel. 


14 THE POWERS COLLECTION. 


BOUGUEREAU (WILLIAM ADOLPHE), France. 


One day in 1842 or so, there was a veritable riot among the stu- 
dents of the Alaux Art School at Bordeaux. It was occasioned 
by the award of the prize of the year to a shopkeeper’s young 
clerk, from La Rochelle, who was taking daily drawing lessons 
of two hours each, which his employer allowed him to abstract 
from business. The young Bokemians had such a contempt 
for the young clerk that they resented with violence the fact 
that he should win the honor of the school above their heads. 
But Bouguereau received the prize in spite of their protests, and 
it decided his career. He determined to become an artist. His 
family objected. He persisted, threw up his employment at 
the shop, and went, penniless, tolive with his uncle, who was 
a priest at Saintonge, and to paint portraits of the townspeople 
for a few francs each. Out of his earnings he contrived to save 
goo francs, on which capital he proceeded to Paris, entered the 
studio of Picot, and secured admission to the Ecole des Beaux 
Arts in 1843, at the age of eighteen years. He lived by incredi- 
ble shifts, finally receiving some small assistance from his family, 
until, in 1850, he won the Prix de Rome. Yor four years he 
was a pensioner and student in Rome, and he returned to Paris 
an artist competent to the execution of great works, Public 
commissions and private patronage soon laid the foundation of 
his fortune. He became a Member of the Legion in 1859, and 
an Officer in 1876, during which year he was also elected a 
Member of the Institute—of which he has since been President. 
He has received the Medal of Honor twice—in 1878 and in 
1885—and is decorated with numberless foreign orders. 


No. 271—TZhe Little Pilferers. 


BOUTIBONNE (CuHares Epovarp), France. 


Born at Buda-Pesth, Hungary, of French parents. Genre 
painter. Pupil of Winterhalter. Medal, 3d Class, 1847. 


No. 156— Skating, 


a Ee ee ed ee 


BIOGRAPHICAL NOTES AND INDEX. 15 


BRELING (H.), Germany. 


Contemporary German School. Pupil of Munich Academy. 


No. 217—TZhe Jolly Fiddler. 


BRETON (JuLEs ADOLPHE), France. 


Born at Courriéres in 1827, he was schooled under Drdlling and 
Dévigne, whose lessons in technique only furnished him with 
a foundation upon which to create a style of hisown. He com- 
menced to claim attention in 1849, received his first medal in 
1855, one of the second class in 1857, and after first-class awards 
in 1859, 1861, and 1867, was granted a Medal of Honor in 1872. 
He had been accorded the Legion of Honor in 1861, and was 
made an Officer in 1867. Prosperity had come with fame. He 
was admitted to be, as an original and sympathetic delineator of 
village and country life of the happier order, what Jean Fran- 
gois Millet was to its more grandiose and pathetic side. His 
poetic temperament invested his pictures with a subtle, senti- 
mental charm. Masterpiece after masterpiece passed into the 
great collections of Europe and America. The sale of his 
** Evening in Finisterre”’ and of his ‘‘ First Communion ”’ in this 
city was attended with positive public enthusiasm. 


No. 9—fortrait of Himseff. 


BRIDGMAN (FreprEricxk A.), United States. 


Born at Tuskegee, Ala., in 1847. At an early age he was em- 
ployed during the day as an engraver by the American Bank 
Note Company in New York. In 1866 young Bridgman aban- 
doned the steel plate for the canvas, and went to Paris to study 
art at the Ecole des Beaux Arts. Géréme, under whom he 
worked, became sincerely interested in him, and his encourage- 
ment had doubtless much to do with the young man’s advance- 
ment of himself. His first exhibited pictures were of subjects 
drawn from his summer sketching tours in Brittany. After- 


16 THE POWERS COLLECTION. 


wards, for several years, he painted from material found in the 
Pyrenees, where he settled in 1870. From the Spanish border 
he went further afield, to Algiers, Egypt, and up the Nile. 
His personal movements can be clearly traced in his works, 
from his ‘‘ American Circus in France,” which first attracted 
marked attention to him, while he was yet almost a student in 
the schools, down to the latest records of the activity of his . 
brush in Algiers. He commenced exhibiting in the National : 
Academy of Design in this city in 1871 ; in 1874 was made an > 
Associate, and in 1881 became a full Academician. Meanwhile 
he had won his medals in Paris, and in 1878 had been received 
into the Legion of Honor. Mr. Bridgman has his studio in 
Paris, but frequently visits his native country, and has made 
exhibitions of his works, which have enjoyed deserved success. 


No. 179—A/fternoon Hours. 


BROWN (Joun G.), United States. 


Born at Durham, England, 1831. Studied at Newcastle-on- 
Tyne and in the Edinburgh Academy of Design. Painted por- 
traits in London, and in 1853 came to New York, where he 
studied at the National Academy of Design. While engaged 
in painting portraits in this city, he cultivated an original style 
of genre which speedily attracted attention to him, and whose 
popularity led to his final adoption of this walk of art. Became 
a member of the National Academy, 1863; is one of the 
founders of the American Water Color Society, of which he is 
now the President ; and the Artists’ Fund Society. 


No. 124—Dead Broke. 
No. 154—TZhe Challenge. 


BROZIK (Vacs.av Von), Austria. 


Born at Tzcmoschna, near Pilsen, Bohemia, 1852. Pupil of the 
Academy at Prague, the Academy at Munich under Piloty, and 


BIOGRAPHICAL NOTES AND INDEX. 17 


M. de Munkacsyin Paris. He received a medal at the Salon of 
1878, and gold medals at Expositions in Berlin, Vienna, Munich, 
and Brussels. He was madea Chevalier of the Legion of Honor 
in 1893, and an Officer of the Legion in 1896 ; Member of the 
Institute, 1897. He is a Knight of the Order of Francis Joseph 
of Austria, Commander of the Order of Letters and Arts of 
Austria, Knight of the Order of Leopold of Belgium, and of 
St. Michael of Bavaria. He was created a Baron by the Aus- 
trian Emperor in 1897, and has been appointed painter to the 
Imperial Family of Austria. He is also Director of the Acad- 
emy of Fine Arts at Prague. 


No. 71—TZhe Falconer’s Recital. 


BRUCK-LAJOS (Louis), France. 


Born at Papa, Hungary, Nov. 3, 1846. Genre painter. Pupil 
of Vienna Academy. Studied in 1869 to 1872 in Italy, especially 
in Venice, where he was for a short time a pupil of the Academy ; 
also pupil, in Paris, of Munkacsy. 


No. 58—ZJnvestigating the Lunch Basket. 
No. 86—TZhe Unwilling Schoolboy. 
No. 238—Lehearsal. 


BUNNER (ANDREW FISHER), United States. 


Born at New York in 1841 ; died there 1897. Associate of the 
National Academy of Design. Studied in Germany, France, 
and Italy. First exhibited in New York at the National Acad- 
emy of Design, in 1867. Lived for several years in Venice. 


No. 59—Zhe Molo or Harbor of Venice. 


CAZIN (JEAN CHARLES), France. 


Jean Charles Cazin, born at Samer, Pas-de-Calais, was one of 
the pupils of that remarkable master, Lecoq de Boisbaudran, 


2 


18 THE POWERS COLLECTION. 


whose name has been assured of immortality, not through his 
own pictures, but through the genius of the scholars to whom 
he gave their development. De Boisbaudran was one of those 
rarely gifted men whose intelligence and sympathy penetrated 
the souls of his followers, analyzing their sentiments and natural 
inclinations in art and propagating them as the gardener does a 
flower, with tender and loving skill. From the studio of this 
master of masters young Cazin won his first honors in 1876 
with his ‘‘ Dock-Yard,” following it in 1877 with ‘‘ The Flight 
into Egypt,” which confirmed his title to respectful recognition. 
He was in those days a painter of history, sacred and profane, 
and of genre, and as such he won his first-class medal in 1880, 
and in 1882 his ribbon of the Legion of Honor. It is a pecul- 
iarity of the Boisbaudran school that it has graduated some of 
the greatest realists in contemporary art, among whom may be 
mentioned Legros, now at the head of his rank in London; Ga- 
briel Ferrier, a sterling talent full of soul and fire, and L’Her- 
mitte, a painter of the people and the fields of his birth and 
boyhood, in whom the future may find a worthy successor of 
Millet. To their ranks Cazin has become joined, and his influ- 
ence on current art is perhaps more potent than that of any of 
his colleagues of the Boisbaudran atelier. Into the landscape 
art of France, fallen into a stagnated imitative mannerism based 
on the master-manners of Corot, Rousseau, Dupré, and Diaz, 
he has blown a breath of new and healthy life. Like his great 
predecessors, he is a naturalist, and like them he sees nature 
with the eye of a poet, made keen and lucid by the stimulus 
of inspiration, and harmonic with the echoing chords of a sym- 
pathetic soul. 


No. 22 7—Night. 


CERAMANO (CuHar.es FERDINAND), ' Belgium. 
Born at Thielt, Belgium. 
No. 109— Sheep. 


BIOGRAPHICAL NOTES AND INDEX. 19 


TR RY Pring 


CHAPIN (C. H.), United States. 


Contemporary American School. 


No. 242—Moose Lake, Adirondacks. 


CHETROWSKI (J.), Russia. 


Contemporary Russian painter. 


No. 143—Luanch in Camp. 


CLAUDE LORRAINE, France. 


Born in 1600; died at Rome, Nov. 23, 1682.° French School. 
Landscape painter. Real name Geléee. Pupil in drawing of 
his elder brother Jean. Wood engraver at Freiburg in Breisgau. 
Taken to Rome in 1613 by a relative, he went thence to Naples, 
where he spent two years as pupil of Godfrey Wals, a painter 
from Cologne. From 1619 to April, 1625, he lived at Rome, 
working as apprentice and valet to Agostino Tassi—who was 
employed by the Cardinal di Montalto to decorate his palace— 
after which he returned to Lorraine by Venice and Tyrol. At 
Nancy he found employment in decorating the Chapelle des 
Carmes for Duke Charles III. with figures and architectural 
ornaments, until the middle of the year 1627, when he returned 
to Rome to remain for the rest of his life. Here he became 
intimate with Saudarrt, Peter de Laar, and Poussin, and spent 
his time in making studies in the Campagna at Tivoli, Frascati, 
and Subiaco. By 1634 Claude had become a celebrity of Rome 
and had painted many pictures, although none are known of a 
date earlier than the ‘‘ Village Féte,” and the ‘‘ Seaport,” at 
the Louvre, of the year 1639. From the Church of the Trinita 
di Monte, where he was buried, and where his monument was 
destroyed by the French in 1798, his remains were removed in 
1840 to the Church of S. Luigi in Francesi at the suggestion of 
M. Thiers, 


No. 182—/ort and Harbor of Marseilles, 


20 “THE POWERS COLLECTION. 


COL (Davin), Holland. 


Born at Antwerp, 1822. Pupil of De Keyser and Antwerp 
Academy. Medal, Vienna Exposition, 1873. Chevalier of the 
Order of Leopold. 


No. 99—A Kegular Customer. 


CONSTANT (JEAN JoserH BENJAMIN), France, 


A picture which caused more than usual comment at the Salon 
of 1870 was the work of a young artist who had made his first 
exhibit there only a year or two before. It was entitled ‘‘ Too 
Late.” The gay city, which never fails to appreciate an allegory, 
even if it be at her own expense, took this one up and made 
the name of Benjamin Constant famous. He was a Parisian of 
good family, born in 1845. A pupil of Cabanel, he had re- 
jected Cabanel’s manner totally, and in spite of the impression 
made by his ‘‘ Too Late,” had not yet settled on his true avoca- 
tion in art. It came to him by accident. Having drifted into 
Spain after the war, he commenced to experience the seductions 
of its semi-tropical life and nature, and when he went to North 
Africa with an embassy to the Sultan of Morocco, the key to 
his art was found. He became an Orientalist and the leader 
among them. His travels enriched him in themes for his brush, 
which won him wealth and the honors that are quite as dear to 
the artist. So wide a success did his Oriental subjects meet 
that he fell under the reproach of being unable to do anything 
else. As a practical refutation of this charge he produced a 
series of historical compositions and characterizations quite 
equal in technique and power to his previous pictures, 


No, 268—A/ Fresco, Tangiers. 


COOMANS (JoseEpu), Belgium. 
Born in Brussels, 1816. Studied under Hasselacre in Ghent, 
Nicaise de Keyser and Wappers in Antwerp, and in Paris, 
Visited Algiers with the French army, and traveled in Italy, 


— a a ee ee ee ee 


BIOGRAPHICAL NOTES AND INDEX. “ay 


Turkey, Greece, and the Crimea. Devoted himself chiefly to 
Pompeian subjects, of which he had made a close study. Had 
his studio in New York in 1889-90. Died in 1891. His two 
daughters have inherited much of his talent and paint in a 
similar style. 


No. 67—HPhidias in his Aleher. 
No. 229—A Classic Beauty, 


CORCOS (Proressor MATTEO ViTTORIO), Italy. 


Born at Levourne. Pupil of Morelli. Medals at Turin, 1880; 
Milan, 1881. Chevalier of the Orders of St. Maurice and 
Lazare. 


No. 170—A Visit to the Convent. 


COROT (Jran BAprisTrE CAMILLE), France, 


Jean Baptiste Camille Corot was born at Paris, 1796, the son of 
a prosperous tradesman. Pupil of Michallon and Victor Bertin, 
and traveled in Italy in 1826. Traveled much in France, paint- 
ing from nature and creating a style out of his experiments. 
Although at first neglected by the public, his patrimonial fortune 
enabled him to live comfortably and paint to suit himself. He 
received medals, 1833, 1848, 1855, 1867 ; was given the Legion 
of Honor in 1846 and became an Officer in 1867. He died in 
Paris in 1875. The influence of Corot on the art of our time 
cannot be overestimated. He lifted landscape painting into the 
realm of idyllic poetry, just as Rousseau gave it a tragic, and 
Diaz a romantic, significance. Each man painted according to 
his feelings. The spirit of the South which burned in Diaz, 
the melancholy of an unhappy life which darkened Rousseau, 
were replaced in Corot bya genial gayety of temperament which 
reflects itself in his works. He was one of the earliest of the 
men of 1830 to receive public recognition, and when success did 
come to him it atoned for the neglect of the past. 


No. 225—TZhe Village Church, 


22 


THE POWERS COLLECTION. 


COURBET (Gustave), France. 


The influence of Courbet on French art was overestimated at 
one time. He was a man of great gifts, but too narrow in mind 
and coarse in mental fiber to make a leader. He could bully 
men but not persuade them, and it was part of his dogmatic na- 
ture to demand absolute devotion and belief or reject all com- 
promise upon it. He himself did not perceive the weakness of 
his own character, and his failure to force an artistic issue upon 
France rendered him furious and resentful. He went so far at 
one time as to almost abjure his native country in favor of Ger- 
many, and made it his boast to welcome foreign honors and re- 
ject those of his own nation. All of this reacted against him, 
and raised a storm of unmerited reprobation that recoiled upon 
his works. He died in exile in Switzerland, in 1878, a man of 
sixty years, broken in fortune, regretted by few, and mourned 
by fewer still. Since his death his great artistic gifts have slowly 
won their true appreciation, and the tumultuous spirit of the 
man fading from memory, leaves the fame of the artist shining 
as it deserves. Born at Ornans, Courbet was originally destined 
for the law and sent to Paris in 1839 to attend the schools. He 
neglected his legal studies to lounge among the studios, and did 
some desultory painting under David d’Angers. He may be 
considered as self-created in art, however, and his very first 
exhibited picture, in 1844, had in it a marked originality and a 
bold and personal style. 


No. 42—TZhe Stone-Breakers. 


COUTURE (Tuomas), France, 


At the age of thirty-two years, almost unknown outside of artistic 
circles and not any too widely known within them, Thomas 
Couture made himself immortal by a single work. The ‘‘ Ro- 
mans of the Decadence” took the art world by storm. Couture, 
born at Senlis in 1815, had studied art under Gros and Dela- 
roche. In 1840 he showed his first picture at the Salon. In 
1879 just after his death, his last was exhibited. In these 
thirty-eight years his vast energy had overcrowded itself in works 


es eS 


-_*e-.  - 


wl _ ow a 


BIOGRAPHICAL NOTES AND INDEX. 23 


which followed each other rapidly and yet failed to keep pace 
with the sweep of his fecund imagination. He once com- 

plained that he needed the arms of four men to accomplish 
what he dreamed. He was by turns idealist and satirist, a 
painter of facts, of creations, and of reflections upon human folly 
worthy of the invention of Balzac. Such a man naturally could 
not go through life without contests, and in spite of success, 
fame, wealth, and the devotion of scholars from whose ranks 
came some of the great painters of our time, Couture ended his 
life a disappointed man. He quarreled with his contemporaries 
on points in and beliefs of art. He quarreled with the Empire, 
which was only too anxious to conciliate him with patronage, on 
a trivial detail of one of the great works Napoleon III. had 
commissioned of him. As a result of the one he withdrew 
from social companionship. Asa result of the other, he ceased 
to contribute his works to the Salon Exhibitions. The Legion 
of Honor, which came to him in 1848, was the last token of 
official esteem which he received. He had lived in retirement 
at Villiers le Bel for some years before his death, admitting 
none but a few chosen friends or exceptionally favored patrons 
to his presence; and so little was known by the public of his 
productions of this period that the exhibition of his works, made 
after his death, caused nearly as great a sensation as had the 
“* Decadence” almost half a century before. From the number 
and the ability of the American students who received their 
artistic training in his school, Couture may be said to have had 
a more important influence on our art than any French painter 
of his time. It is stated that at the time of his death he was 
painting the example included in this collection, 


No. 273—Love Drives the World. 


COXE (REGINALD CLEVELAND), United States. 


Born at Baltimore in 1855. Pupil of the National Academy of 
Design, New York, and of M. Bonnat, Paris. Member of the 
Society of American Artists. He achieved a reputation as an 
etcher, with pictures of boats in the fog and shore views in 


Myc 3 


24 THE POWERS COLLECTION. 


1886-go, but latterly has devoted himself to oil painting. He 
has spent several years in study at East Gloucester, Mass., and 
on Cape Cod. Studio at present at Lawrence Park, Bronx- 
ville, N. Y. 


No. 214—Zhe Narrows, New York Harbor. 


CROSIO (L.), Germany. 


A native of Munich; painter of genre subjects. 


No. 230—TZhe Lecture. 


DAMBOURGEZ (Epwarp JEAN), France. 


Born at Pau. Pupil of Lefebvre and Boulanger. ys 
No. 96— Oyster Woman in the Kitchen. 
DANGER (H.), France. 
No. 208—Ffrench Girl. 
DAUBIGNY (CHARLES FRANGOIS), France. 


Art was an inheritance to Daubigny. Born at Paris in 1817, 
he came of a family of painters, and all his surroundings were 
artistic. His father, his uncie, and his aunt were laborers at 
the easel, and the boy absorbed his first lessons with his childish 
breath. He became a pupil of his father, and after a visit to 
Italy and some time spent in the studio of Delaroche, he turned 
to that universal fount of inspiration—nature—and found in her 
the secret of his future greatness. His earlier figure pictures 
and portraits, which are excessively rare, show him, like Corot, 
to have been a painter of sound and well-trained ability in this 
branch ; but it was to landscape that inclination and sympathy 
directed him early and there held him fast. He came out at the 
Salon of 1838, and after a struggle of ten years, found prosperity 


EE eee ——OE—EEEE— EEE ey ee 


BIOGRAPHICAL NOTES AND INDEX. 25 


and fame. In 1848 he won a second-class medal ; in 1853, one 
of the first class. The seal was set upon his reputation when 
the Emperor, in 1852, purchased his picture of ‘‘ The Harvest” 
for the Tuileries, following it, in 1853, with the purchase of 
another for St. Cloud. In 185g he was invested with the Legion 
of Honor, and in 1875 was made an Officer of the Order. He 
died in 1878, after having shared with the master painters of 
Barbizon the glory of regenerating his national art, and left a 
legacy of masterpieces to the world. Of all the painters in the 
immortal group to which he belonged he was, perhaps, the 
nearest to Corot, not only in artistic sympathy, but in an almost 
brotherly tenderness of personal affection. Daubigny died at 
Paris in 1878. 


No, 226—<Springtime. 


{DE BUEL (Hxnn), Belgium. 


Contemporary Belgian School, Landscape and animal painter. 


No. 53—Leading out the Flock, 


DE CHAMBORD (F.), France. 
Contemporary French painter of genre subjects. 


No. 4—“ Marie.” 


DEFAUX (ALEXANDRE), France. 


Born at Bercy, in the suburbs of Paris, Sept. 27, 1826. Pupil 
of Corot. Medals at the Salons of 1874 and 1875, Legion of 
Honor, 1881. . His “‘ Harbor of Pont-Aven, Brittany,” is in the 
Luxembourg Gallery, Paris. He is considered to be one of the 
ablest of modern landscape painters. 


No, 85—Landscape. 


DEFREGGER (FRANz Von), Germany. 


Born on a farm at Stronach, in the Tyrol. In 1857, when he 
was twenty-two years of age, the death of his father made him 


26 THE POWERS COLLECTION. 


master of the farm, and the first use he made of his inheritance 
was to sell it and go to Innsbruck to study the art of sculpture 
under Professor Stoltz. His master advised him to undertake 
the study of painting instead, and he took his first lessons at 
Munich under Professor Anschiitz. Ill health sent him to Paris 
for a time, whence he returned to his native village, continuing 
his studies from nature till, in 1866, he entered the Piloty school 
at Munich. His reputation progressed from city to city, and 
from exhibition to exhibition throughout Europe. He received 
medals at Paris, and honorary memberships of the academies of 
Munich, Vienna, Berlin; the great gold medal of Munich, the 
first prize of Berlin, and finally, in 1883, his patent of nobility. 


No. 216—/orvtrait. 


DE GRAVE (JuLes ALEXANDRE P.), France. 


Pupil of Géro6me and Vély. Honorable mention, Paris, 1883. 


No. 253—School Recess. 


DE GROSSI (A.), Italy. 


A native of Genoa ; awarded gold medal at Milan, 1879, and 
Naples, 1880. 


No. 243—TZhe Jolly Cavaters. 


DELACROIX (FERDINAND VicTor EvGznp), France, 


The pupil of Guérin who made his début in 1822 at the age of 
twenty-three, with his ‘‘ Dante and Virgil,” lived to see, in 1863: 
a revolutionized art and literature in France, and to know that 
he had been in the van of the battle that produced it. Yet De- 
lacroix began as a classicist, and the evidences of this influence 
struggle in his ‘‘ Dante and Virgil” for the mastery of his 
natural tendency to the romantic and tragic side of nature. He 
abandoned the prevailing cult early, and his travels in Spain and 
Africa in 1831 gave him the fire and color which were to render 
his art supreme. He died loaded with honors, but his fullest 


BIOGRAPHICAL NOTES AND INDEX. 27 


EIEIO ISIS VOSS SATO TORII Alea ose ee 
fame has accrued to him since his strong hand dropped the pen- 
‘cil for the last time. The world has crowned his work with post- 

humous laurels. The great galleries and the choice collections 
of Europe and America have made prizes of the productions on 
which he has stamped his title to immortality, and even the least 
sympathetic criticism concedes him a unique place as an intrepid 
leader and a creator of marvelous fecundity and power, to whom 
the world’s art owes a debt of gratitude it can never overpay. 


No. 36—Death of the Standard Bearer, 


DELAUNAY (J.), France. 


Contemporary French painter. Pupil of Bonnat. Studio in 
Paris. Has spent some time in United States. 


No. 57—Sattle Scene. 


DE VOS (B.), Belgium. 
Contemporary Belgian School. 


No. 165—TZhe Pets Alarmed. 


DEWEY (CHARLES MELVILLE), United States. 


Born at Lowville, N. Y., in 1851. Landscape painter, self- 
taught. Exhibited first at the National Academy in 1875. 
Member Society of American Artists. 


No. 123—Srown and Sere, 


DIAZ DE LA PENA (NarcisE-VIRGILE), France. 


Born at Bordeaux, Aug. 21, 1808. His parents were banished 
from Spain on account of political troubles, and at ten years 
of age Diaz was left an orphan in a strange country. At 
fifteen years of age he was apprenticed to a maker of porcelain, 
where his talent first displayed itself. Medals, 1844, 1846, 


28 THE POWERS COLLECTION. 


1848. Legion of Honor, 1851. Died, from the bite of a viper, 
Nov. 18, 1876. Diploma to the Memory of Deceased Artists 
(Exposition Universelle), 1878. 


‘‘In the group of painters beyond the average, Diaz de la Pefia is the 
great artist of the fantastical. Anything serves him as a pretext for 
bringing to light his marvelous aptitude asa colorist. He has not the 
science of Rousseau nor the poesy of Corot, still less the severe grandeur 
of Dupré. He renders the enchantments of the landscape flooded with 
sunshine or the forest plunged in luminous twilight, with beams filtering 
through the thick leafage ; he dazzles the eye with all the seductions ofa 
grand colorist ; by these obvious qualities, which affect even the uniniti- 
ated spectator, he gets closer to the latter than other landscapists of the 
time. He is the grand virtuoso of the palette, making sport of difficulties. 
With him everything is of the first impulse; his work is thrown off with 
brio; the enchantment of the color carries it along. We can imagine him 
in the solitudes of the forest of Fontainebleau, making the wooden leg 
resound on the earth and singing with all his lungs to let off his exuber- 
ant nature. The countrymen whom Millet stopped to regard with com- 
passionate thoughts did not attract him. He dots the pond-side, where 
the sun gleams, with peasant girls, mere little red touches. In his sun- 
gilt landscapes Diaz puts such figures as offered, by their costumes, a 
pretext for the wealth of his palette. From the Orient, as he passes 
through it, he only collects the remembrances of silky stuffs and golden 
embroideries, spreading forth their pride in the sun; from Italy he only 
preserves the method of the colorist Veronese, whom he often equals in 
the attractiveness, if not in the conception, of his work. As for mythology, 
it is merely his excuse for modeling in full impasto and in open daylight 
the nymphs and the Dianas.’’—Extracts from Wotes sur les Cent Che/s- 
d@’Guvres, by M. ALBERT WOLFF. 


No. 148—Landscape with Figures. 
No. 258—orest of Fontainebleau. 


DORE (Gustave Pavt), France. 


Born at Strasburg, 1833. Went to Paris when fifteen years of 
age and began contributing sketches to illustrated periodicals. 
First exhibited at Salon in 1848. Chevalier of the Legion of 
Honor, 1861. Officer of the same, 1879. Also showed great 
ability as a sculptor. Died at Paris, 1883. 


No. 160—Children Feeding the Family Pet. 


BIOGRAPHICAL NOTES AND INDEX. 29 


DUBUFE (Epovarp), France. 
Born at Paris in 1818; died at Versailles, Aug. 11, 1883. 
History and portrait painter; son and pupil of Claude Marie ; 
studied afterwards under Paul Delaroche. Between 1841 and 
1846 he painted religious pictures, but later confined himself to 
portraits. Medals : 3d Class, 1839; 2d Class, 1840, 1855, 1878 ; 
Ist Class, 1844; Legion of Honor, 1853; Officer, 1869. 


No. 193—TZhe Pacha’s Favorite. 


DUPRE (Juuien), France. 


Originally a student of the figure under Pils and Lehman, 
Julien Dupré was doubtless directed in the path he has chosen 
by his association with Laugée. Already, in 1876, he was a 
painter of rustic scenes, in which landscape and figures pre- 
served an admirable balance, as his ‘‘ Harvest”? showed. In 
1880 his two pictures at the Salon won him a medal of the third 
class, to which others have since been added. He painted at 
this period in a mellow and warm tone, with a heavy impasto 
and powerful drawing. By degrees he abandoned this manner 
for the higher key and brighter atmospheric effect inseparable 
from painting much in the open air, while his drawing has also 
become more delicate and refined. His pictures, in which the 
human figure and cattle are combined in the composition, show 
him to be a master of form, while in landscape he paints with 
‘commensurate skill. Among the younger painters of France no 
talent better equipped or more symmetrical has developed itself. 
Dupré is a native of Paris, where he was born in 1851, and isa 
nephew of the great landscape painter, Jules Dupré. 


No. 68—TZhe Harvesters’ Meal. 


DUPRE (Lfon Vicror), France. 
Léon Victor Dupré, the younger brother of Jules Dupré, was 
born at Limoges in 1816. He became a pupil of his brother, 
and a landscape painter of quite as great strength, though per- 
haps not so original. He was medaled at the Salon of 1849, and 
also at the Philadelphia Centennial Exposition of 1876, and 
various French museums possess pictures by him in their collec- 


30 THE POWERS COLLECTION. 


tions. He was an artist thoroughly in sympathy with the move- 
ment of 1830, and a technician of the first order. 


No. 150—Landscape, 


DUVERGER (T. E.), France. 


Born at Bordeaux, Sept. 16, 1821. Genre painter. Awarded 
medals, Paris, 1861, 1863, 1865. 


No. 112—Freparing for Market. 


ERDMANN (Orto), Germany. 


Born at Leipsic in 1834. Genre painter. Pupil of Leipsic 
Academy. Studied in Dresden and Munich, and in 1858 settled 
in Dtisseldorf. 


No. go—Secret Homage. 


EROLI (EpoArpo), Italy. 


Contemporary Italian School. Pupil of Fortuny, at Rome. 
Painter of genre subjects, 


No. 7—La Lille du Regiment. 


ESCOSURA (IcNAcE DE Lkon y), Spain. 
Born at Oviedo, Spain. Pupil of Géréme, in Paris, By nature 
an enthusiastic antiquarian, and seeker after national historical 
relics, he devotes himself to scenes associated with them. He 
also paints portraits. Has made several visits to America, 
painting local subjects and portraits. 

No. 188—TZhe Visit to the Chateau, 

No. 206—Fortrait of the Artist. 

FALAT (1.), Germany. 
Contemporary German School. Studio in Munich. 

No, 108—fortrait. 


FASCE (E,), France. 


Contemporary Spanish-Roman School. Studios at Valencia, 
in Spain, and at Rome. 


No, 245—A Bird that can Sing, etc. 


TE hee we ita 
i.e. © ; VP 


BIOGRAPHICAL NOTES AND INDEX. 31 


FERRY (Jules GeorcEs), France. 


Born at Bordeaux. Pupil of Hillemacher, John Lewis Brown, 
and Cabanel. Honorable mention ; medal, 3d class, Paris, 
1886, 


No. 126—A Literary Reunion under the First Empire. 


FINK (Aucust), Germany. 


Contemporary German School. Studio in Munich. Landscape 
and cattle painter. 


No. 81—Autumn Landscape. 
No. 234—Landscape and Cattle. 


FRERE (Pierre Epovarp), France. 


Frére was born at Paris in 1819. At about the time when the 
naturalistic movement was sending the men of 1830 to Barbizon, 
he found his settlement in the little town of Ecouen, north of 
Paris but a few miles, where he was destined to found a school 
known throughout the world of art, and of art collectorship. He 
was the pioneer painter at Ecouen, but did not long remain 
solitary there. Other artists followed him, and pupils gathered 
about him, just as the colony formed itself at Barbizon around 
‘Rousseau and Millet. The charm of his subjects gained for him 
an early popularity which was materially advanced by the exten- 
sive publication of engravings from his pictures. He came out 
at the Salon of 1843, but had produced pictures of fine quality 
as early as 1835. In 1850 he received his first medal, and in 
1855 the Legion of Honor. The enthusiastic championship of 
John Ruskin opened the rich market of England for his works. 
He was an early favorite in America. In Germany he was 
received with open arms, and so strong was his hold upon that 
nation that when the Prussians plundered Ecouen, his house and 
studio were held inviolate by them. His death in 1886 was made 
an occasion of general mourning among his confréres, and the 
eulogy at his bier, pronounced by Bouguereau, was one of the 


32 THE POWERS COLLECTION. 


most noble tributes ever paid by an artist to the memory of a 
friend and colleague. 


No. 28—Mazernal Love. 
FROMENTIN (Evucéng), France. 


It was accident which made Fromentin an artist. The son of a 
well-to-do provincial lawyer, born in 1820 at La Rochelle, he 
went at nineteen years of age to Paris, to qualify himself to 
succeed his father. At twenty-three he received his diploma, — 
but a fit of illness, during which he solaced his enforced leisure 
by gratifying his latent talent for drawing, turned him in the 
direction of art. He studied under Rémond and Cabat, and his 
earlier works show little of the feeling of those which rendered 
him illustrious. While he was making his first experiments as 
a student, Prosper Marilhat was creating a profound impression 
by his Oriental landscapes, and Fromentin, who in 1840 had 
visited Algeria for pleasure, found himself attracted to these 
subjects in which the gifted pupil of Roqueplan excelled. After 
his first exhibits in the Salon of 1847, Fromentin again visited 
Africa. In 1849 he commenced to exhibit Algerine pictures, 
and they won him a second-class medal. He improved on the 
model of Marilhat by making figures important accessories of his 
landscapes, and was speedily recognized as the most sympathetic 
and poetical painter of Arab life, in France. His influence as 
the founder of a school of Oriental art was recognized by first- 
class medals in 1859 and 1868, and in the former year he received 
the Legion of Honor, being made an Officer ten years later. 
He was as brilliant a writer as a painter, and his death, in 1876, 
left in the front rank of French art a vacancy which has never 
been filled. Followers and imitators he has had many, but 
among them no successor to him has arisen. 


No. 260—Aradb Falconer; 


GABANI (L.), Africa. 
Contemporary Spanish-Roman School. Studio at Tangiers, 
Morocco. : 


No. 244—WMoorish Prisoners. . 


BIOGRAPHICAL NOTES AND INDEX. 33 
ep netscape spine ge Secs menos pingesisunisesenpeataedentenocins 


GAISSER (Max), Germany, 
Contemporary German School. Genre painter. Studio in 
Munich. Gold medal at Munich. 


No. 105—TZhe Village Politicians. 
No. 167—TZhe Confidential Cavater. 


GARCIA (HisPpaLeto Don MANUEL), Spain. 
Born at Seville. Contemporary history and genre painter. 


Pupil of Seville Academy. Studied later in Rome. 
No. 136—Zhe Moorish Doctor. 


GARRIDO (Epovarp Lfon), Spain, 
Born at Madrid. A pupil of Palmaroli. Excels as a painter of 


women of his own nationality. 


No. 21—VPromenading. 
No. 49—On the Terrace. 
No. 111— Streets of Paris. 


GAY (Epwarp), United States. 
Born in Ireland in 1837, Edward Gay became a pupil of James 
Hart, in Albany, N. Y., in 1862, and after some years under 
him went to Europe, where he studied under Schirmer, in Carls- 
ruhe, and Lessing, in Diisseldorf. He became an associate of 
the National Academy of Design in 1870, and is one of the few 
American landscape painters of the older school who have 
shaken off the trammels of their early time and kept themselves 
in line with the progressive development of landscape art. For 
his painting ‘‘ Broad Acres,” now in the Metropolitan Museum 
of Art, he was awarded a cash prize of $2,500 at the Third Prize 
Fund Exhibition of the American Art Association, New York, 
1887. 


No. 92—TZhe Old Estate. 
No. 162—TZhe Quiet River. 


3 


34 THE POWERS COLLECTION. 

GEIBEL (C.), Germany. 
Contemporary German School. Genre painter. Studio at 
Weimar. 


No. 2—TZhe Pretzel Boy. 


GEROME (Jean Lion), , France. 


A great French critic once described J. L. Géréme as standing 
at the head of modern scholarly art. The phrase was apt. The 
most striking characteristic of his art is the idea it conveys of 
vast knowledge, and of logical and searching study, apart from 
the technical perfection of the art itself. The artist and the 
scholar are indeed closely united in the pupil of Delaroche, who 
followed his master into Italy half a century ago, and who in 
all the years that have since elapsed has never quite forgotten 
the classical lessons of his youth. Géréme was born at Vesoul 
in May, 1824. In 1847 he won his first medal, although he 
failed to secure the Prix de Rome. He consoled himself for the 
latter loss by visiting Russia and Egypt on his own account, and 
while he found little in the former country to attract him, he 
assembled in the latter the first instalment of that material by 
which his greatest popularity has since been gained. In spite ~ 
of his ‘‘ Phryne,” his ‘‘ Diogenes,” his ‘*‘ Alcibiades,” and the 
rest of a long list of powerful and remarkable classical and 
historical subjects, the Géro6me who will be best remembered by 
the world is the Géréme of Egypt and of Africa, the painter 
who has made these countries live as picturesque facts for us, 
where Delacroix and Fortuny and their followers and imitators 
have made them the subjects of romances of color and of sub- 
ject. Itis not astonishing that an artist of so symmetrical and 
well rounded a genius should be an able sculptor as well asa 
painter. Gérdme, as long since as 1878, received a medal for 
sculpture, and some of his plastic productions are likely in the 
future to receive the honor that falls to the sculptor of the first 
rank. Every official honor that falls to the French master of 
our time has fallen to him. He has been a Commander of the 


BIOGRAPHICAL NOTES AND INDEX. 35. 


Legion of Honor since 1878, a Member of the Institute since 
1875, a Professor of the Ecole des Beaux Arts since 1863. His 
medals of gold and silver fill a cabinet. The Medal of Honor, 
that crown and glory of an artist’s ambition in the Parisian con- 
test for fame and fortune, came to him thrice. In every art 
museum of his native country and most of the great public gal- 
leries and private collections of the world his works find repre- 
sentation. Perhaps no artist ever lived who enjoyed a greater 
share of the rewards of genius during his lifetime. Certainly 
few have had as many bestowed upon them while their capacity 
for profiting by them was yet unimpaired. 


No. 46—Zhe Sentinel at the Sultan’s Tomb. 
No. 259—Lab-el-Zouel. 


GIROUX (Anpr&), France. 


Born at Paris, 1801. Studied under Thibaut, and took the Przx 
de Rome in 1825. His ‘‘ View of the Plain of Grésivaudan,” 
near Grenoble, 1837, is at the Luxembourg. Chevalier of the 
Legion of Honor. 


No. 119— Waiting for the Train. 


GONZALES (J. A.), Spain. 


Born at Chiclana, Spain. Contemporary genre painter. Pupil 
of Pils and of Rodriquez. Medal, Paris, 3d class. 


No. 32—TZhe Spanish Coquette. 


GRUPPE (Cuartts P.), United States. 


Contemporary American School. Studio at Rochester, N. Y. 


No. 74— Beach of Scheveningen. 


36 THE POWERS COLLECTION, 


GRUTZNER (Epvarp), Germany. 


Born at Gross, Carlowitz, Silesia, May 26, 1846. Genre 
painter. Pupil of Munich Academy and of Piloty. Devoted him- 
self to humorous genre, and at once attained great success with 
his scenes from Shakespeare. Afterwards the amusing sides of 
monastic and hunting life became his principal themes. Pro- 
fessor at the Munich Academy. Gold medal, Berlin, 1872. 
Honorary member of Munich Academy, 1885, 


No. 66—A Plying Visit. 
No. 129—Contentment and Happiness. 


GUISSER (E. T.), Germany. 
Contemporary German School. Studio in Munich. 


No, 213—Solders Playing Cards. 


GUYOT (J. L.), ~ France. 


Contemporary French School. Studio in Paris. 


No. 50—Shepherd and his Flock. 
HAANEN (CEcIt VAN), Austria. 


Born at Vienna, in November, 1844. Genre painter. Son of, and 
first instructed by, Remy van Haanen; then pupil of Vienna 
Academy, and for six years, in Antwerp, of Van Lerius and Ver. 
lat. For six months was employed in London, as draughts- 
man for leading magazines. He visited Venice in 1873, and was 
greatly influenced by Passini, and this, in connection with Pet- 
tenkofen’s advice, imparted a new stamp to his style. He is 
a brilliant colorist, with a broad and vigorous touch, and a fine 
faculty for composing and placing his figures, Medals, Paris, 
3d class, 1876; 2d class, 1878. 


No. 64—Zazlor’s Workshop. 


(ieee 


PA yk 
' 


BIOGRAPHICAL NOTES AND INDEX. ay 


HAGBORG (Avcustz), | Sweden. 


No. 
No. 
No. 
No. 


Born at Gothenburg, Sweden. Pupil of the Academy of Fine 
Arts, Stockholm, and of Palmaroli, Paris. Medal, Paris, 1879. 
‘““Of majestic stature, with a handsome and characteristic head, one 
recognizes in him at once the strong man and the artist, the indefatiga- 
ble fighter and worker, whose eyes, flashing with inspiration and spirit, 
have in them still that tenderness which belongs to the Swedish eye, 
tinted with the beautiful blue of the sea. Everything is robust and vig- 
orous in the talent which confirms him as one of the masters of the 
future.”—A uguste Hagborg, by A. M. DE BELINA, 


23—A Jack Tar. 

114— Waiting for the Boat. 

265—The Fisherman's Wife. 

274— October. The Potato-Gathering. 


HAGEMANN (C. ps), France. 


Contemporary French School. Studied in Paris. 


No. 212—-Camp in the Desert. 
No. 222—Lost in the Desert. 


HAQUETTE (Georczs), France, 


No 


Born at Paris. Pupil of Adolph Milletand of Cabanel. Medal, 
1880. 


“ Haquette, a child of the town, became, by accident only, a painter of the 
children of the coast. A chance visit to the seaside laid the foundation 
of his choice of subjects. The discovery of a picturesque old fishing 
boat did the rest. His models he sought at the seaside. His boat he 
transported to Paris, where he painted it in every aspect, position and 
condition of effect. A legitimate success attends M. Haquette in his 
representations of maritime life. To Pollet, that picturesque quarter 
which makes Dieppe two distinct cities, the painter retires during ten 
months of the year, to study on the spot the physiognomies he depicts.”’ 
—L’ Art Contemporaine. 


. 159—Homeward Bound. 


38 THE POWERS COLLECTION. 


HAYON (Léon), France, 


Born at Paris, Nov. 16, 1840. Genre and portrait painter. 
Pupil of Léon Benouville, Picot, and Pils. Medal, 3d class, 
1883. 


No. 152—TZhe Old Cardinal. 


HENNER (JEAN JACQUES), France. 


Sixty years ago there entered the studio of Gabriel Guerin, at 
Strasburg, a rustic-looking young Alsatian named Henner. He 
had been born at Bernweiler in 1829, and had already developed 
a marked gift for drawing. After some seasons under Guerin, 
which witnessed in him a rapid improvement, he went to Paris, 
where he entered the Ecole des Beaux Arts, and became a pupil 
of Picot and of Drdélling. In 1858 he succeeded in winning the 
Prix de Rome, which gave him five years of study in Italy, fol- 
lowing which he visited and painted in Dresden, and traveled 
extensively in Holland. No painter since Titian and Cor- 
reggio had succeeded in securing in the rendition of the nude 
such charm of color and purity of expression, and he was not 
long in creating a unique place for himself in his art. His 
** Susannah,” in 1864, carried the day for him in Paris, and was 
purchased for the Luxembourg Gallery, of which it is one of the 
masterpieces. Henner received his first Salon medal in 1863, 
since which time the full complement of national honors has been 
successively accorded him. He was received into the Legion of 
Honor in 1873, and became an Officer in 1878, 


No. 43—Zhoughtful, 
No. 147—Madeleine. 


HILDEBRANDT (FERDINAND THEODORE), Germany. 
Born at Stettin, July 2, 1804; died at Diisseldorf, Sept. 29, 1874. 
History, genre, and portrait painter. Pupil from 1820 of the 
Berlin Academy, and from 1823 under Schadow, whom, in 
1826, he accompanied to Diisseldorf, where he soon became 
celebrated, and was made, in 1832, assistant, and in 1836, Pro- 


ee Se 


pine eet —< 


BIOGRAPHICAL NOTES AND INDEX. 39 


fessor of the Academy. In 1829, with Schadow, and later, he 
_ repeatedly visited the Netherlands, where he was influenced by 
the realistic school of Wappers. Went, in 1830, to Italy, where, 
as later in Paris, he studied the Old Masters, especially of the 
Dutch School. Member of the Berlin and Vienna Academies. 


No. 198—Lear Awakening from Insanity. 


HILLER (G.), Germany. 


No. 164—Changing Horses in the Tyrol. 


HOFF (Karz), Germany. 


Born at Mannheim, Sept. 8, 1838. Genre and landscape 
painter. Pupil of Carlsruhe Art School under Schirmer and Des 
Coudres, and of Diisseldorf Academy under Vautier. Visited 
Paris in 1862. Settled in Diisseldorf, and made journeys 
through Germany, France, Italy, and Greece. In 1878 went 
to Carlsruhe as Professor of the Art School. Medals in Berlin, 
| 1872 ; Vienna, 1873. Honorary Member of Rotterdam Academy 
since 1865. He has painted all the figures in his genre scenes 
in the costumes of the times of Louis XIV, and XV. 


No. 163—Zhe Unwelcome Visit. 


HOOGHE (Pieter pz), Holland. 


Born at Rotterdam ; baptized probably Dec. 12, 1632. Died 
at Haarlem (?)in 1681. Dutch School. Genre painter. Formed 
himself under the influence of Karl Fabritius and Rembrandt. 
Worked at Delft, where he entered the guild in 1655; per- 
haps also at Haarlem. One of the most original artists of the 
Dutch School. Painted domestic scenes, especially in the open 
air ; and is considered the best painter of clear sunlight. 


No. 141—A Dutch Market-place in the Evening. 


40 THE POWERS COLLECTION. 


HUNTINGTON (Danre1), United States. 


Born at New York, Oct. 14, 1816. Pupil of Professor S. F. 
B. Morse and Henry Inman. Visited Europe in 1839, and 
again in 1844. Painted some of his most important works in 
Florence and Rome. Elected Associate Member of National 
Academy, New York, 1839, and National Academician in 1840 ; 
and for a number of years held the office of President. 


No. 45—Princess Elizabeth. 


HYON (GerorGEs), France. 


Born at Paris. Pupil of Protais. 


‘Hyon, a pupil of Protais, who has also, we believe, enjoyed the in- 
struction of Detaille, exhibited in the 1887 Salon a striking canvas, ‘ After 
Jena.’ In 1888 he followed it with a still more imposing work, ‘ Water- 
loo,’ based on a passage of Thiers’ history. This year (1889) he sends an 
episode of the bloody 30th of August, 1870>—‘ A Day of Battle: Beau- 
mont.’ Hyon won his spurs a decade ago. It is in these recent exhibi- 
tions, however, that he has shown himself at his strongest and best.”— 
Paut MaritTz. 


No. 6—fyrench Cavalry. 
No. 102—A French Cutrassier. 


JACOMIN (ALFRED Louis), France. 


Born at Paris, Jan. 3, 1843. Genre painter. Medal at Phila- 
delphia Exposition, 1876. 


No. 155—Zhe Dilettanee. 


JACQUET (Jean Gustave), France, 


A pupil of Bouguereau, Jacquet has chosen for his artistic 
avocation the perpetuation of the charms of womanhood. His 
genre pictures and his portraits are almost entirely devoted to 
the fairer sex, whose grace and beauty he renders with beautiful 
color and a graceful brush. His female portraits especially 
have a strength, expressiveness, and delicacy of tone that render 
them essentially pictures. Born at Paris in 1846, Jacquet has 


—_—" s = pore 
ge OM ings ee tea 


oie 


SAAS eos a fe 


BIOGRAPHICAL NOTES AND INDEX. 41 


always been a thorough Parisian in his art. He commenced to 
exhibit at the Salon before he was twenty years of age. In 1868 
he gained his first medal, and for a period produced pictures 
of a historical character, the subjects being usually drawn from 
the past. It was not until his admission into the Legion of 
Honor, in 1879, that he began to give his attention to mod- 
ern life. 


No. 174—The Conqueror Conquered. 


JAKOBIDES (G.). Germany. 
No. 270—Children’s Quarrel. 


JARDON (L. E.), Sweden. 
Painter of genre subjects. 

No. g1—A Swedish Family. 

No. 107—TZhe Little Swede. 


JIMINEZ-Y-ARANDA (Luts), Spain. 
Born at Seville in 1845 ; a brother of José Jimenez-y-Aranda. He 
received a first prize at the Exposition Universelle, Paris, 1889, 
the only grand prize awarded to Spain. 


No. 142—A Spanish Pharmacy. 


JOHNSON (EAstMaAy), United States. 


Born at Lovell, Me., 1824. Studied at Diisseldorf, 1849-51. 
Later, studied and painted in Italy, Paris, and Holland. Elected 
a National Academician, 1860. Studio in New York. Dis- 
tinguished as a painter of American genre, and during late 
years largely devoted to portraiture, 


No. 39—Zhe Reprimand. 


JONES (Setu C.), United States, 
Contemporary American School. Studio in Rochester, N. Y. 


No. 75—lock of the Mission. 


42 
KEVER (J. S. H.), Holland. 


THE POWERS COLLECTION. 


Born at Amsterdam, 1857. Pupil of the Amsterdam Academy. 


While yet a boy his passion for drawing and sketching pointed 


out his future career. Kever has a great reputation as a painter 
of Dutch peasant home life, and none has better or more sym- 
pathetically painted children. He expresses in his paintings 
very sweet sentiment with a strong, free brush. His subjects 
are very simple, but seriously painted. His handling of light, 
whether in interiors or out-of-doors, is particularly happy, and 
the tone and color are excellent. His works are steadily rising 
in the estimation of connoisseurs, He received the gold medal 
of Amsterdam in 1892, and was awarded medals at Munich, 
Chicago, and other places. 


No. 38—Zhe Evening Meal. 


KINDSDAEL (THEODORE), Germany. 


Contemporary German School. 


No. 267—TZhe Fishing Boat. 


KNAUS (Proressor Lupwic), Germany. 


Born at Wiesbaden, 1829. Pupil of Jacobi, and the Academy 
of Diisseldorf under Sohn and Schadow. Afterward he allied 
himself with Lessing, Leutze, and Weber. Member of the 
Academies of Berlin, Vienna, Munich, Amsterdam, Antwerp, 
and Christiania, and Knight of the Order of Merit. Medals, 
Paris, 1853, 1855 (Axfosition Universelle), 1859. Medal of 
Honor, 1867 (Zxposition Universelle). Legion of Honor, 1859 ; 
Officer of the same, 1867. Medals, Vienna, 1882; Munich, 
1883. Professor in the Academy at Berlin. Medal of Honor, 
Antwerp, 1885. 

““Ludwig Knaus enjoys the unique distinction of being accepted by 
Germany as her chief painter of genre, and by the world as one of the 
leading masters in that art. He owes this double triumph to the variety 


and independence of his genius. Painting in Germany and delineating 
German subjects, he still does so in a style so original, so brilliant, and so 


BIOGRAPHICAL NOTES AND INDEX. 43 


cosmopolitan that his pictures command the same attention from the 
stranger, and exact the same respect and admiration, as they win for 
him at home. He wasa pupil, at the Diisseldorf Academy, of Sohn and 
Schadow, but his graduation in art, after a couple of visits to Italy, 
occurred in Paris, where he spent eight years studying the methods of the 
French painters. It is to this that he owes the emancipation of his style 
from the formality and mannerism of his original schools; and of all 
German painters of our time, he is probably the only one whom the 
French artists accept with enthusiasm as one of themselves. The genial 
humor, fine humanity, and keen comprehension of human nature revealed 
in his pictures area reflection of the character of the man himself, and 
his amiable personality has largely aided his genius in securing him an 
international popularity. He isa master of techniqueanda colorist of the 
first quality. The uniform excellence of his productions has been noted 
as characteristic of the man, who, whether employed upon a simple study 
from nature or upon the most elaborate and ambitious composition, con- 
siders no work sufficiently finished until he has devoted his best talent.” 


No. 146—TZhe Butcher Boy. 


KORIECS. Austria. 


Contemporary Austro-Hungarian School. 


No. 1—Sacred Oxen. 


KOWALSKI (ALFRED WIERUsz), Poland. 


Proper name, Alfred Kowalski von Wierusz. Born at Warsaw, 
Poland, of an ancient family of the minor nobility. Pupil of 
the Warsaw, Dresden, and Munich Academies, and of Alex- 
ander Wagner and Joseph Brandt. Devotes himself chiefly to 
scenes of the chase, combining figures and animals, which he 
paints with great dash and in a vivid spirit. Medals at Munich 
and other European exhibitions, 


No. 232—A Ride in the Park. 


KRAEMER (PETER), Germany. 
Contemporary German School. Studio in Munich. 


No. 138—TZhe Monk Musician. 
No. 145—Monk Taking Snuff. 


44 THE POWERS COLLECTION. 


No. 183—fortratt of a Monk. 
No. 233—A Knight. 


KRAY (WILHELM), Germany. 


Born at Berlin. Contemporary landscape and genre painter. 
Spent some time in Rome and Venice, and then settled in 
Vienna. Professor of the Academy at Vienna. 


No. 269—Venus Aphrodite. 


KRONBERGER (Karl), Austria. 


Born at Freystadt, Upper Austria, March 7, 1847. Genre 
painter. Pupil of Munich Academy under Anschiitz and Hilten- 
sperger. Many of his pictures are in America, 


No, 223—“Couldn’t Resist It.” 


LACHENWITZ (Sicmonp), Germany. 
Born at Neuss in 1820; died at Disseldorf, June 25, 1862. 


No. 94—L£2k Pursued by Wolves. 


LAMBERT (Louis Evcine), France. 
Born at Paris, Sept. 25, 1825. Pupil of Delacroix. Genre 
and animal painter ; especially noted as a careful and humorous 
painter of cats and dogs. Medals, 1865, 1870; 3d class, 1876, 
1886, Legion of Honor, 1874, 


No. 251—Zhe Pet Kitten. 


LAMPERT (Emma E.), United States. - 


Studied in New York, and has been a regular contributor to the 
exhibitions of the Society of American Artists and the National 
Academy of Design. Studio in Rochester, N, Y, 

No. 135—Mother Claudius. 

No. 144—A?¢ High Noon, Cape Ann. 

No. 210— Woman with Fagots. 


ee eS 


BIOGRAPHICAL NOTES AND INDEX. 48 


LELOIR (Louis ALEXANDRE), France. 


Born at Paris, 1843. Pupil of his father, Jean Baptiste Leloir, 
the historical painter. First painted scenes of biblical history, 
but eventually devoted himself to genre subjects, chiefly from 
the life of the seventeenth and eighteenth centuries. A brilliant 
painter in water colors as well as oils. Medals, 1864, 1868, 1870, 
1878, 1879, and 1880. Legion of Honor, 1876, Died in 1884. 


No. 88—Zhe Temptation of St. Anthony. 


LEMAIRE (Casimir), France. 


Contemporary French School. Genre painter. Studio in Paris. 
Exhibitor at the Salon des Champs-Elysées, 


No. 172—A Holiday, near Fontainebleau, in 1789. 


LEMAN (Jacques EpMonp), France. 


Born at L’Aigle (Orne), Sept. 15, 1829. History and portrait 
painter. Pupilof Picot. Honorable mention, Paris Salon, 1855. 


No. 196—Homage to the Dauphin, 1638, 


LEROLLE (HeEnrt), France. 


A Parisian by birth and schooling, he is less of a Parisian in 
his art than any other living painter of equal capacity. He is, 
over all, a student and worshipper of nature, seeing her with 
his own eyes and translating her in poetic phrases. Lerolle, 
commencing as a painter of genre and history, soon passed over 
to the open-air school, and his airy landscapes, with beautiful 
trees, animated with excellent figures and cattle, secured a 


46 THE POWERS COLLECTION. | 


prompt critical acceptance. Reaching still farther in his ex- 
periments, the artist next produced subjects of which his 
magnificent ‘‘ At the Organ,” presented by Mr. Seney to the 
Metropolitan Museum of Art, is atype. Then he turned his 
attention to peasant life, in association with its labors, somewhat 
in the style of Millet, but more hopefully and with a gentler 
and happier spirit pervading them. Lerolle received his first - 
Salon medal in 1879, and each year adds to his honors at home 
and abroad. 


No. 184—Zhe Wanderer. 


LESREL (ADOLPHE ALEXANDRE), France. 


Born at Genest, in the Manche. Pupil of Gérome. He has 
painted historical subjects, and been also successful in portrai- 
ture, but is chiefly popular for his genre pictures of the Renais-— 
sance period, with rich costumes and accessories, 


No. 89—La Chanson. 
No. 255—Soldier, Time of Louis XIII, 


LINDENSCHMIDT (WILHELM, THE YOUNGER), Germany. 


Born at Munich, June 20, 1829. History painter. Son of 
Wilhelm, the elder. Pupil of Munich Academy ; then of Stadel 
Institute in Frankfort, and of Antwerp Academy. Continued his 
studiesin Paris ; and, in 1853, settled in Frankfort. Removed in 
1863, to Munich, where he became Professor at the Academy, 
1875. Member of Berlin Academy. Gold medal, Berlin, 1870. 
In 1885 he restored successfully his father’s fresco painting— 
“Victory of Louis the Rich at Giengen,” in the arcades of the 
Royal Garden of Munich. 


No, 197—Luther and the Reformers at Marburg, 1529. 


BIOGRAPHICAL NOTES AND INDEX. 47 


LUBEN (A.), Germany. 


Born at St. Petersburg in 1837. Genre painter. Pupil of Berlin 
and Antwerp Academies. Settled in Munich in 1876, Painted 
mostly humorous scenes. 


No, 60—Her Own Barber. 
No. 93—Under the Hammer. 
No. 187—Bavarian Log Runner. 


MADRAZO (Raimunpo px), | Spain. 


Raimundo de Madrazo was born at Rome, in 1841. His father 
was his first instructor, and from his tutelage he graduated 
into the Paris Ecole des Beaux Arts, receiving, later, instruc- 
tions from Léon Cogniet. In 1878 the brilliancy of his 
talent, so thoroughly Parisian in spirit and Spanish in verve 
and color, won him a double honor not commonly accorded. 
He received, for his work at the Salon of that year, a First 
Class Medal and the ribbon of the Legion of Honor. Since 
that auspicious acknowledgment of his ability, Madrazo has 
advanced from success to success. Some of his most bril- 
liant productions have been of Spanish origin, but he has re- 
mained faithful to Paris as a resident, and generally so in 
his choice of subjects. His younger brother, Ricardo de 
Madrazo, has also developed into an artist of ability and origi- 
nality, and some confusion of identity has been occasioned by 
the similarity of their initials. There is, however, only one 
Madrazo who will be recognized as the master of the family, 
upon the just grounds provided by himself. With both France 
and Spain vehement to claim him, his national and artistic 
identities are so interwoven that it is not impossible that he may 
become a subject of international dispute. Several of his pict- 
ures were in the Wm. H. Stewart Collection, and he was the 
brother-in-law and a companion of Fortuny. At the present 
time (1898) he is in New York painting portraits. 


No. 120—Za Belle Déseuvree. 


48 THE POWERS COLLECTION. 


MAKART (Hans), Austria, . 
Born at Salzburg, May 29, 1840; died at Vienna, Oct. 3, 1884. ; 
History painter. Pupil in 1858 of Vienna Academy under 
Ruben, but, dissatisfied with prevailing methods, left it after a 
few months, and returned on foot to Salzburg, whence, through 
the munificence of the Prince-Archbishop Maximilian von 
Tarnoczy, he soon proceeded to Munich, and there studied first 
under his relative, the landscape painter, Schiffman, and in 
1861-65, at the Academy, under Piloty. Visited London and 
Paris in 1863; Italy in 1866; Venice and Vienna in 1868 ; Rome 
in 1869; and, in the same year, settled in Vienna at the invitation 
of the Emperor Francis Joseph, who caused a sumptuous studio 
to be prepared for the artist, and, in 1876, conferred on him the 
title of Professor. The winter of 1875-76 he spent in Egypt; 
then visited Antwerp ; and, in 1877, Spain. Professor at Vienna 
Academy from 1879. Honorary member of Vienna, Berlin, and 
Munich Academies. Gold medals in Vienna, 1857-1882. Medal 
of Honor, Paris, and Legion of Honor, 1878; Officer, 1884, 
In August, 1884, he became insane, 


No. 207—TZhe Church Door. 


Te SS eS ae es 


Ee Oe te er ee 


MAUVE (AnrTon), Holland. 
At the Centennial Exposition in Philadelphia, a picture which 
made its mark in the exhibit from the Netherlands was called 
‘* Hauling up the Fishing-Boat.” It was one of those sincere 
and simple efforts at the transcription of nature in which Dutch 
art is supreme. The painter was Anton Mauve, a man no 
longer in the flower of youth, but of an energetic nature and a 
fresh and spirited style. He was a native of Zaandam, and had 
been a pupil of P. F. Van Os, but evidently owed most of his art 
to himself and to the foundation of all art—nature, that universal 
mother, at whose breast genius is nourished with a vitality that 
perennially renews itself. Among the earlier pictures of Mauve 
one may discover traces of his master, in a painstaking finish, 
a sleek and smooth execution, and a tendency to pleasant color 


BIOGRAPHICAL NOTES AND INDEX. 49 


without fiber or strength. When he freed himself and went 
forth to his studies in the fields, his manner changed as if within 
a day. Breadth of execution, simplicity of material, a close 
observation of the variations of. nature, characterized it. The 
student, having learned the substantial processes of painting, 
became the artist, susceptible to the fleeting impressions of the 
scene, swift to grasp and strong to execute them. Always well 
sustained by the Dutch collectors, he was also the recipient of 
universal European honors. His pictures received the medals 
of the Salon, and found their place in the great collections of 
Europe and America. His death, in 1889, was lamented as a 
loss to the art of the world as well as to that of his native Hol- 
land. 


No. 264— Holland Landscape and Cattle. 


MAX (GaAsrie1), Germany. 


The son of a sculptor, Joseph Max by name, Gabriel Max’s art 
life began in the studio of his father, whom he served as an 
assistant, until his death in 1855. He promptly abandoned the 
chisel and the clay tubs, and until 1858 was a diligent student 
at the academy of his native city, Prague. In 1863 he became 
a pupil of Piloty, at Munich, and, like all of the great pupils of 
this remarkable master, gained from him the essence of a lofty 
art without becoming an imitator. His picture of a beautiful 
Christian martyr on the cross, at whose feet a passing Roman 
youth sacrifices his crown of roses, made a strong mark for him 
at its exhibition in 1865, and rendered it possible for him to 
establish himself independent of his master. In 1867 Max 
opened his studio in Munich, and a few years later was ad- 
mitted to a professorship at the Academy. His fame passed 
early beyond his native border. All Europe concurred in honor- 
ing him with medals and diplomas, and in giving to his arta 
place in the leading rank of modern productiveness. 


No, 205— Sister Agnes. 
4 


4 ' 


50 THE POWERS COLLECTION. 
McCORD (GeorcE H.), United States. 


Born at New York, 1848. Pupil of Professor Moses Morse, in 
1866. First exhibited, National Academy of Design, 1868. 
Elected an Associate of the National Academy, 1880. Silver 
medal, World’s Fair, New Orleans, 1884. Member of American 
Water Color Society, and Salmagundi Club. Visited Europe in 
1890, and painted many English scenes with marked success. 


No. 1o—Winter Night. 
No. 61—A Studious Beauty. 


No. 201—Autumn in Westchester. 


MEISSONIER (JEAN CHARLES), France. 


Son and pupil of Jean Louis Ernest Meissonier. Medal, at Paris, 
1866. 


No. 62—Zhe Artist's Leave-taking. 


MENCIA (Gaxcia Y), Spain. 


Contemporary Spanish School. Pupil of Don Federico de 
Madrazo. 


No. 263—£/ Fele/, 


AE NZLER (W.), Germany. 


A well-known genre and subject painter of the contemporary 
German School. His works are familiar to the art world 
through popular reproductions in color. Studio in Munich. 


No. 37—Character Study. 
No. 118—Character Study. 


BIOGRAPHICAL NOTES AND INDEX. 51 


MERLE (Hucves), France. 
Born at St. Marcellin, 1823. Pupil of L. Cogniet. Medals, 
1861-1863 ; Legion of Honor, 1866, He painted some biblical 
and historical pictures, but chiefly employed himself upon genre 
subjects drawn from humble life, and executed on a large scale 
with great precision of treatment. He died in 1881. 


No. 70—Jnterrupted, 


MEYER VON BREMEN (Jouann GeEors), Germany. 
Called, from his birthplace, Meyer von Bremen. Born Oct. 
28, 1813. Pupil of Sohn. Member of the Amsterdam Acad- 
emy. Gold Medal of Prussia, 1850. Medals at Berlin and 
Philadelphia. 


‘**When young Jean George Meyer emerged from the Diisseldorf Academy 
in 1842 to install himself in the dignity of a studio of his own, it wasasa 
painter of religious works of the largest size that he aspired to fame. It 
was not long before he discovered that his talent had mistaken its direc- 
tion. His heart was not in these academic and artificial compositions, 
while all around him nature—and above all, human nature—invited him 
to more congenial fields. So the painter of tradition soon became the 
painter of fact, and his exquisite little cabinet pictures of domestic scenes 
and homely episodes of every-day life were not long in securing favor. 
One of the earliest and most successful of his efforts in this new direction 
was an interior scene in his own studio, which possesses the additional 
charm and value of presenting portraits of himself and family in the 
naive and attractive grouping of a picture.”—HerinrRIcH CARL VON 
LIEBENAU. 


No. 24—Girl Reading. 


MILLET (Francois), France. 
Born in Paris, Jan. 17, 1850. Son and pupil of Jean Francois 
Millet. When three months old his father moved his family 
from Paris to Barbizon, and made it his permanent abode. 
Here Francois’ infancy and childhood were passed. With two 


52 


THE POWERS COLLECTION, 


sisters a few years older than he, and several brothers and 
sisters younger, no child ever spent a happier boyhood. Free 
to wander in the forest close by, or over the no less beautiful 
fields on the vast plains about his home; carried on his father’s 
shoulders after the master’s painting hours, and discussing with 
him the aspects and meanings of the beauties and wonders he 
saw, and a passion for reading and a retentive memory, gave 
him, as he grew older, a wide knowledge of history and litera-' 
ture. Close observation of trees, plants, and birds, gave him 
the training of a naturalist. The constant contact with his. 
father’s great mind ; the conversations of the artists and other: 
illustrious men frequently seated about his father’s table—this' 
was Francois Millet’s education. He passed his early life in Bar- 
bizon, excepting long visits to his old friend M. Hartman (whose 
widow lately gave the fine picture ‘‘ Le Printemps” by Millet 
to the Louvre), who had large possessions in the Vosges Moun- 
tains. There Francois Millet spent months at a time, alone in 
the wildest heights, painting aspects of scenery different from 
those among which he lived, and making special studies of the 
wild mountain cattle of that country. Several visits to the stern 
coast of Normandy, his father’s country, greatly stimulated and 
impressed his imagination. He studied in a class of Bonnat’s 
for a short period after his father’s death, but in every sense of 
the word his father was his only master. His teaching was 
designedly indirect. Through conversations calculated rather 
to stimulate his son’s mind and cause him to formulate his own 
ideas than actual lessons. He would say, before a study patiently 
and perseveringly made of a wood where the doves’ notes are 
heard, shaking his head, ‘‘ Non, on n’entendrait pas les ramiers 
dans ton petit bois.” ‘‘ No, one would not hear the wood 
pigeons in your little wood.” Such observations were more 
suggestive and profitable to his pupil than more conventional 
lessons. The ever-ready example of. his father at work ; ob- 
servations of his methods; the progress of his pictures; the 
elaborate study, and'the simple, broad execution, were a per- 
petual demonstration to his son of the art of painting. Brought 
up thus in the studio of this great and marvelously industrious 
painter, Francois Millet’s youth and apprenticeship was like that 


ao Pen ee ee ee 


BIOGRAPHICAL NOTES AND INDEX. Reg 


of the artists of the great Florentine epoch, who, under the eye 

and guidance of some great master, learned the heights and 
depths and mysteries of their art, or craft. Francois Millet’s 
pictures are so simple that one is not struck by any surprising 
technique or startling effect; a poet who interprets quiet 
scenes and subjects of simple life of the fields—or more usually 
a landscape, with the emotion of a sunset or happy sunny 
orchard—some children playing ; women knitting. But it is on 
reflection that one sees the masterly modeling and drawing ; the 
rich color sense, and the disciplined execution. Francois Millet 
has lived the life of a recluse—devoting himself to the care of 
his mother and an invalid sister, who have now both passed 
away. Though living in great retirement, close to nature, 
finding in it all his joy and religion, he has continued to paint 
and study always. He has exhibited frequently at the Salon du 
Champ de Mars, and lately in London at the New Gallery. 
His works are not well known in New York, though there are 
several here in private collections. M. Millet married Miss 
Geraldine Reed, of New York, at Paris, in July, 1897, and is at 
present in the United States. A visit to his wife’s family was 
the chief reason of his coming—but he has availed himself of 
the opportunity to see once more the works of his father, Jean 
Francois Millet, so cherished and in such great numbers in the 
collections of this country, each one of which he had seen begun 
and ended on his father’s easel at Barbizon. ° 


No. 48— View at Vichy. 


MIRALLES (F.), Spain, 


A Spanish painter whose career as an artist is identified with 
the modern French School. He has lived in Paris for many 
years, and is celebrated as a portrayer of the unique types, prin- 
cipally feminine, which have made Duez, Jean Béraud, and 
other painters famous. His works are not commonly found in 
exhibitions in the United States. Studio in Paris. 


No. 16—Recreation. 
No. 77—Coast at Badalone, Spain. 


54 THE POWERS COLLECTION. 


MOREAU (ApRIEN), France. 


Born at Troyes (Aube), April 18, 1843. Genre painter. Pupil 
of Pils. Paints spirited and humorous subjects with taste and 
skill. Medal, 2d class, 1876. 


No. 199—Lehearsal of Richeheu’s Tragedy, “Miriam,” 


MOSLER (HEnry), United States. 


Born at New York. Pupil of Hébert. Awards and Honors: 
Medal, Royal Academy, Munich, 1874; Salon, honorable men- 
tion, 1879; ‘‘ Le Retour,” purchased by the French Government 
for the Musée de Luxembourg, 1879 ; Gold Medal, International 
Exhibition, Nice, France, 1894; American Art Association’s 
Prize Fund Exhibition, New York, prize $2,500, 1885 ; Salon, 
Gold Medal, 1888 ; Axfosttion Universelle, Paris, Silver Medal, 
1889 ; Hors Concours, 1890; Chevalier de la Legion ad’ Honneur, 
1892; Officer ¢’ Academie, 1892; Archduke Carl Ludwig, of 
Austria, Gold Medal, 1893; elected Associate of National Acad- 
emy of Design, 1895 ; Grand Gold Medal and Diploma of Honor, 
Atlanta Exposition, Georgia, 1895; Thomas B. Clarke Prize, 
National Academy of Design, 1896. Pictures purchased by, and 
incorporated in, the following museums: Luxembourg, Paris ; 
Sydney, Australia; Grenoble, France ; Louisville (Ky.) Poly- 
technic Institute ; Pennsylvania Academy of Fine Arts; Cincin- 
nati (Ohio) Museum ; Springfield (Mass.) Museum. 


No, 84—A Stroll in the Park. 


MULLER (Cuar_es Louts), France. 


Born at Paris, Dec. 22, 1815 ; died there in 1893. Pupil of Baron 
Gros and Léon Cogniet and of the Ecole des Beaux Arts. He 
was a Member of the Institute and Officer of the Legion of 
Honor; artistic director of the manufacture of the Gobelin 
tapestries from 1852 to 1853. His ‘‘ Charlotte Corday, in 
Prison,” is in the Corcoran Gallery, Washington, D, C. 


No. 80—Ze Rond de Mat. 


BIOGRAPHICAL NOTES AND INDEX. 55 


MUNIER (Emizz), France. 


Pupil of A. Lucas and Bouguereau. Honorable mention, 1882, 
Paris Salon. 


No. 26—Seeding the Pigeons. 
No. 63—Sfringtime. 


MUNKACSY (Minty), Austria, 


In 1846 the rude village of Munkacs, in Hungary, was the 
birthplace of a child of poverty who was christened Michael 
Lieb. He had no future but one of misery, such as had pre- 
ceded him in the experience of his progenitors, and he com- 
menced, almost as soon as he could handle a tool, to earn his 
meager living as a carpenter’s apprentice. For six years he 
worked at the bench, with an occasional job of house painting 
to vary the monotony of his labor. From this casual employ- 
ment he found his way to his future. He taught himself to 
draw, and, in a crude way, to paint. Then a good-natured, 
poor portrait painter of Guyla took him up and taught hima 
little more. From this master he passed into the hands of 
the Vienna Academy, and, by a supreme effort, finally secured 
admission into the Munich Ecole des Beaux Arts, where Pro- 
fessor Adam became his friend and instructor. Here the young 
artist, who was known as Michael of Munkacs, which title 
he has since adopted as his name—Michael Munkacsy—made 
such strides in advance that he was enabled, by the winning of 
several prizes, to set himself up at Diisseldorf in 1869, as a 
painter. The works of Knaus and Vautier inclined him to genre 
painting, and in 1869 his ‘‘ Last Day of a Condemned Man” 
made him famous. His style was so original and so unlike the 
conventional methods of German art that it attracted attention 
in Paris, and in 1872 he was emboldened to settle in that city, 
where he has since resided and where his works have found 
much favor. He had received a medal at the Salon in 1870, and 
so was not unknown there. In 1877 he was received into the 
Legion of Honor, of which he has been an Officer since 1878, 


56 THE POWERS COLLECTION. 


Munich and Vienna have made him a member of their Acad- 
emies, and the whole world in which art finds patronage has 
accepted him. His case is an illustration of the triumph of 
artistic genius over apparently insurmountable difficulties almost 
unique in the history of modern art. 


No. 190—Z00 Much Mother-in-law. 
No. 261—eeding the Favorite. 


MURPHY (J. Francis), N.A., United States. 


A little landscape, executed in a fine harmony of color and with 
great delicacy of feeling, drew a limited amount of notice, at the 
National Academy Exhibition of 1876, to a young artist whose 
name was new to the catalogues. ‘The few who took the trou- 
ble to inquire after him found that he was a native of Oswego, 
N. Y., some three and twenty years of age, and a pupil of no 
school save that of nature. The predictions aroused by his first 
exhibit were confirmed by his successive productions, and in 
1885 he was admitted to an Associateship of the Academy, 
from which he was advanced, in 1887, to the degree of a full 
Academician. Absolutely devoted to the study of nature, Mr. 
Murphy has created for himself a manner which individualizes 
him among the chief American painters of landscape. In 1885 
Mr. Murphy was awarded the second Hallgarten Prize ($200) 
at the National Academy of Design, and in 1887 he received 
the prize of $300 founded by Dr. W. Seward Webb for the 
Society of American Artists, of which Mr. Murphy is an active 
and prominent member, and has been awarded a gold price 
medal by the American Art Association of New York. 


No. 31—Landscape. 
NECHUTREY (R.), Austria, 


Pupil of Wilhelm von Kaulbach. Chevalier of the Order of 
Franz Josef. Knighted by the Emperor of Austria. 


No. 95—Zhe Hussites before Naumburg, 1432. 


ee ee ee a ee — 


Dil lin Sent 


BIOGRAPHICAL NOTES AND INDEX. 57 


NEUHAUS (Fr17z), Germany. 


Contemporary German School. Studio in Diisseldorf. 


No. 158—Zhe Prince’s First Ride. 


NICHOLLS (Burr H.), United States, 


Born at Lockport, N. Y. Pupil of L. G. Sellstedt, N.A., and 
of Carolus Duran, Paris. 


No. 104—A Street Scene in Brittany. 


NICOL (Ersking), R.A., England. 


A house painter’s apprentice of Edinburgh one day, some sixty 
years since, applied to the Trustees Academy of that city for 
admission to the art school as a student. The drawings he 
exhibited commanded consideration for him, and thus Erskine 
Nicol commenced one of the most successful careers in the chroni- 
cles of English art. From his house painter’s labors of the day 
he subsisted until he had become a sufficiently accomplished 
draughtsman to undertake an engagement as drawing master at 
the high school of Leith, in which town he was born in 1825. 
From Leith he went to Dublin, where he earned his living as a 
drawing master, and continued his studies, later returning to 
Edinburgh, and finally, in 1863, settling in London. Previous 
to his removal to London he had been made a member of the 
Royal Scottish Academy. In 1866 he became an Associate of 
the Royal Academy of London, and in due time a full Aca- 
demician. Devoted to genre subjects, Mr. Nicol has in them 
produced a long series of superb studies of life and character 
in his native Scotland and in Ireland, where, during his sojourn 
and from subsequent visits, he amassed a rich store of material. 
As a colorist he has no superior in England. As a delineator 
of character he has no equal in his native art. A shrewd, dry 
humor expresses itself in his works, and a broad and genial 
sympathy with humanity lends them heartiness. Although 


58 THE POWERS COLLECTION. 


known throughout the world by engravings from his pictures, 
Mr. Nicol’s paintings are of unusual and infrequent appearance 
in collections outside the insular limits of Great Britain, where 
they find an invariable acceptance. He has exhibited, generally 
through the generosity of collectors owning his works, at the 
National Academy of Design in this city, at the Centennial 
Exposition in Philadelphia, and at a few American loan exhibi- 
tions, and has been medaled at the Salon and other Continental 
art displays. 


No, 17—<An English Family, 
No. 133—Latience ts a Virtue, 


OCHMIDIEN (H.), Germany. 


Contemporary German School. A noted painter of genre and 
single figures. Studio in Diisseldorf. 


No, 131—Music, not Mathematics. 


OMMEGANCK (BALTHAzAR P.), Holland. 


Born at Antwerp, Dec. 26, 1755; died there Jan. 18, 1826. 
Animal and landscape painter. Pupil of H. J. Antonissen. 
He received many honors. Was made a Knight of the Order 
of the Belgic Lion; elected a member of several learned so- 
cieties, and appointed, in 1815, by Belgium, one of the Com- 
missioners to reclaim from France the works of art which 
Napoleon had acquired by force of arms during the previous 
war. Rector of Guild of St. Luke, Antwerp, in 1789, and 
Professor in Academy, 1796. 


No. 44—Landscape, Cattle, Sheep, and Goats, 


OUTIN (Pierre), France. 


Born at Moullins (Allier). Pupil of Lacomte and Cabanel. 
Honorable mention, 1879. Medal, Paris, 1883. 


No. 181—* Good-by, Grandpa ahs 


Se eee” ea 


BIOGRAPHICAL NOTES AND INDEX. 59 


'PALIZZI (Gruseprre), Italy. 


Born at Lanciano in the Abruzzi in 1812. Landscape and ani- 
mal painter. Brother of Fillippo Palizzi. Studied first at Cava 
near Salerno. Exhibited some pictures at the Naples Academy. 
In 1844 became a pupil of Troyon in Paris, where he afterwards 
settled. Medal, 2d class, 1848. Legion of Honor, 1859. 


No. 56—Driving Out the Flock. 


PALMAROLI (Vicente), Spain. 


Born at Madrid. A pupil of his father, of F. M. K. Madrazo, 
and of the Academy of Fine Arts, Madrid. Medal, Exposition 
Universellc, 1867. He is one of the chief painters of his school. 


No. 175—Zhe Storm. 


PAPPERITZ (Prorzssor Gustav Friepricn), Germany. 


Born at Dresden, Jan. 27, 1813; died there Jan. 26, 1861. 
Landscape and genre painter. Pupil of Dresden Academy 
under Clausen-Dahl; then studied in Munich, and visited Italy 
and Spain. 


No. 33—A/feer the Bath. 


PASINI (ALBERTO), Italy. 


In the Chevalier Alberto Pasini we have an Italian who paints 
the Orient as a Turk might who was born to its spirit and 
nourished on its air. A native of Busseto, near Parma, he 
enjoyed the instructions of three great masters. From Ciceri 
he acquired his firm draughtsmanship, from Isabey his color, 
and bold and fluent execution of the brush, and from Rousseau 
the deeper feeling and sentiment of that master of landscape, 


60 THE POWERS COLLECTION. 


The influence of Isabey is exercised at its happiest in Pasini’s 
pictures in those exquisite groups of figures with which they 
are enlivened, and which give to landscapes, in themselves of a 
masterly style, the additional interest of genre compositions. A 
fortunate chance sent Pasini to the East at the commencement 
of his independent artistic career, and in several years’ residence 
in Turkey, Arabia, and Persia, he accumulated the experience 
and the material upon which his most successful art is based. 
No man of our time succeeds like him in realizing upon canvas 
the life and spirit of the Orient, its splendor of color, brilliancy 
of burning light, and barbaric sumptuousness of gorgeous 
pageantry. His color is strong, bright, and true, his grasp of 
form and character vigorous, and his touch has the certainty of 
a well-schooled hand, directed by an observant eye. His treat- 
ment is broad, although not negligent of detail ; the light effects 
of his pictures are often peculiar but always striking, and in his 
command of aérial perspective he is particularly fine. He sees 
and presents to us the real life of the Orient from an artistic 
standpoint, leaving its natural poetry to speak for itself through 
the truthfulness of his delineations. He is an Honorary Pro- 
fessor of the Academies of Parma and of Turin, a medalist of 
all the great exhibitions, and since 1878 an Officer of the Legion 
of Honor, into which order he was received in 1868. 


No. 40—Zhe Falconers. 


PENNE (Cuar.es O1ivrer De), France. 


Born at Paris, Jan. 11, 1831. Landscape and animal painter. 
Pupil of Léon Cogniet. Second Grand Prix de Rome, 1857. 
Medals, 3d class, 1875 ; 2d class, 1883. 


No. 27—Wild Boar Hunt. 


PEREZ (Atonzo), France. 


Contemporary Spanish School. Associated by his work with 
the painters of Paris of to-day. Studio in Paris. 


No, 65—A? the Park Gate, 


BIOGRAPHICAL NOTES AND INDEX. 61 


PERRAULT (Lfon), France, 


Born at Poitiers. Contemporary pupil of Picot and Bouguereau. 
Medals, Salon, 1864, 1876. Chevalier of the Legion of Honor, 
1887, 


No. 168—Azor’s Education. 


PETERSEN (O orp), Sweden. 


Contemporary Scandinavian School, which has adopted French 
methods, while retaining a distinct individuality. A. proficient 
delineator of the scenery of the Land of the Midnight Sun, 


No. 78—Scenery in Norway. 


PEZANT (Ayn), | France. 
Born at Bayeaux. Pupil of Vuillefray. 
No, 20—Catéle. 


PILOTY (Cart THEopor von), Germany. 


Born at Munich, Oct. 1, 1826; died there July 21, 1886. Son 
of, and first instructed by, the lithographer, Ferdinand Piloty. 
Then pupil of Munich Academy under Schnarr, and later under 
his brother-in-law, Karl Schorn. In 1847, he visited Venice, 
painted genre pictures, and at Leipsic (1849) many portraits ; 
then visited Dresden, where Velasquez became his ideal; went 
in 1852 to Antwerp and Paris, and thenceforth entered upon 
the path of Calvinistic realism, to which he owed his great 
renown. In 1856 became Professor of Munich Academy; from 
1874 director of same. 


No. 194—Ldizabeth and Frederic of Bohemia Receiving 
News of the Loss of the Battle of Prague. 


6s THE POWERS COLLECTION, 


PILTZ (PRoFEssor OTTO), | Germany. 
Genre and portrait painter of the contemporary German School. 


His work is celebrated for its excellent study of character and 
good quality of color. 


No. 3—Grandpa’s Fet. 
No. 72—Lunchtime in the Kindergarten. 
No. 202—Gyrandma Tea Drinking. 


PIOT (ETIENNE ADOLPH), France. 
Pupil of L. Cogniet. 


No. 173—JLtahan Girl Spinning. 


PIOTROWSKI (MAxiMILIAN ANTON), Poland. 
Born at Bromberg, Posen, in 1815; died at Kénigsberg, Nov. 


29,1875. History and genre painter. Pupil of Berlin Academy 
under Hensel. Painted at first romantic episodes from Polish 
history ; later on scenes of popular life in Poland, cleverly con- 
ceived, and of vigorous coloring. Was professor at K6nigsberg 
Academy. 


No. 116—TZhe Wood-chopper’s Story. 


PLASERT (Gomez), France. 
Contemporary French School. Studio in Paris. Noted for his 


pictures of life out-of-doors with the elements of fashion and 
manners of to-day. 

No. 12—<Stroliing in the Park. 

No, 106—Scene in Venice. 


POIL (L. DE), France, 
No. 137—Landscape. 


POST (W. MERRITT), United States. 
Born at Brooklyn, N.Y. Pupil of Art Students’ League. Sec- 
retary of the New York Water Color Club. 


No. 113—Whence all the Blooming Flush of Life has fied. 


BIOGRAPHICAL NOTES AND INDEX. 63 


RABE (TuHeEonorg), Germany. 


Contemporary German School. Studioin Berlin. His pictures, 
usually of genre subjects, show the distinctive German methods, 
combining natural color with great care in the painting of detail. 


No. 79—Zhe Duet. 


RAFFAELLI (Jean FRrAnco!s), France. 


Born at Paris. Contemporary. Gold medal, Paris Axposition 
Universelle, 1889. Chevalier of the Legion of Honor. He 
made his début as an artist at the first exhibition of the ‘‘ Inde- 
pendents ”’ or ‘‘ Impressionists ” in Paris, in 1879, and has since 
then achieved solid success, and is rated as one of the most indi- 
vidual of modern painters. His works are especially remark- 
able for the study of character in modern types, 


No. 73—La Place de I Opera. 


RAVEL (Juss), France. 
Contemporary French School. Studio in Paris. Pupil of 
Cogniet. 


No. 178—Lustic Day Dreams. 


a» RICCI (A,), Italy. 


Contemporary Italian School. Pupil of M. Léon Bonnat. 
Born at Turin, and there painted pictures of genre subjects. 
Studied and painted in Paris, 1879-1884. Studios in Paris and 
Turin. 


No, 215—Leading. 


RICHTER (Epovarp), France. 
Born at Paris. Pupil of Hébert and Bonnat. Honorable 
mention, Paris Salon. 

No. 161—Sappho. 

No, 262—TZhe Jewel of the Harem. 


64 THE POWERS COLLECTION. 


RICO (Martin). Spain. 
Rico is a Spaniard by birth, but of almost entirely original de- 
velopment. He was born at Madrid, and taught to draw by a 
good-hearted cavalry captain who practised art, after a fashion, 
as an amateur. From the trooper’s hands he passed to the 
Madrid Academy, and he made his living as he advanced by 
drawing and engraving on wood during his hours of leisure. 
On the small savings of this labor he would wander off on foot 
during the summer, studying from nature, living among the 
gipsies and the herdsmen out of doors, quite as often hungry as 
well fed, and at the end of the season almost compelled to beg 
his way back to Madrid. Asa result of his unremitting industry, 
he, in 1862, secured the first Prix de Rome ever given at Madrid 
for landscape. The four years’ pension involved by the prize 
may be used by the winner either at Rome or Paris, Rico went 
to Paris. His amiable compatriot, Zamagois, took him in hand, 
Meissonier and Daubigny advised him. For four years he 
studied nature, and then, when his period of pensionate had 
expired, he found a patron and fortune. The patron was the 
father of Jules L. Stewart, the painter. In water color, as in 
oil, Rico’s brilliant and animated style commanded praise and 
popularity, and he was enabled to seek in Spain and Italy, and 
even in the Orient, for subjects. In 1878 Rico was medaled at 
the Salon and endowed with the Cross of the Legion of Honor, 


No. 25—Scene in Venice. 


RIGON (A.), Heanne 


Contemporary French School. Paints somewhat in the manner 
of the great Isabey, but possesses in his work well-marked indi- 
vidual characteristics. 


No. 18— Wedding at the Castle. 


ROMAKO (Anton), Austria. 
This whole-hearted genre painter was born at Atzgersdorf, not 
far from Vienna, in 1835. He was a pupil of the Vienna Acad- 
emy and of Rahl, and subsequently resided in Rome. His Italian 


BIOGRAPHICAL NOTES AND INDEX. 65 


figure work is of first rank. He made a permanent success in 
rendering the child-life of Vienna, and is strongly akin to 
Knaus in the verity and spirit of his compositions. Medals, 
1869 and 1872; Legion of Honor, 1882. His pen-and-ink 
sketches are of a high order. For him the aim of art was not 
beauty, but the expression of truth. 


No. 266—Zouis XV. Sentinel. 
ROUSSEAU (Pierre Erienne Tufopore), France. 


The career of Rousseau was analogous to that of Millet in its 
protracted and painful struggle. Born at Paris in 1812, poor, 
sensitive, and of the highest nervous organization, the young 
artist began with the exhibition of the Salon of 1826 his long 
life of original effort beset by trouble and despair. He was 

- from the first a naturalist, and suffered repeated rejection, and 
even insult, at the hands of Salon juries, controlled by disciples 
of the classical school, to which his art was a perpetual challenge 
and defiance. He was one of the first men of his time to settle 
the now famous artistic colony of Barbizon, and with Corot, 
Daubigny, Diaz, and Dupré, stands as an associate founder of 
the modern school of French landscape painting. A pupil of 
Lethiére and Remond, Rousseau really, however, owed his 
artistic development to his study of nature. He received his 
first third-class medal at the Salon of 1834, medals of the first 
class in 1849 and 1855, and a Medal of Honor the year of his 
death. He was made a member of the Legion of Honor in 
1852. In 1867, his failure to secure an Officership of the 
Legion, which was largely due to intrigue on the part of his 
enemies, proved a severe blow to him, and undoubtedly bore 
a share in accelerating the advent of the malady which carried 
him off. His death occurred in 1867, 


No, 224—Landscape. 
ROYBET (Vicror Lion FERDINAND), France. 


When, at the Salon of 1866, the ‘‘ Jester of Henry III.” won 
for its painter his first medal, France hailed in Roybet a new 


5 


66 


Ar eee 
LA 4, 4 7 ‘i 


THE POWERS COLLECTION. 


prophet in current art. His cavaliers and ladies, his groups 
and cavalcades, were not only picturesque in themselves and 
realized with remarkable vividness and vitality, but they were 
presented in picturesque incidents and surroundings. The 
painter is a native of Uzés, in the Garde, and was born in 1840. 
He had begun the study of art at the Ecole des Beaux Arts, at 
Lyons, and settled in Paris not.long before his début at the 
Salon. An immediate favor followed the warm critical reception 
of his first works, and he entered upon a career of success which 
years have only added to, and which has made his name familiar 
throughout the civilized world. To successive exhibitions he 
sent a splendid series of canvases, representing social and his- 
torical episodes of the past, in each of which his powers found 
stronger and ever stronger expression; and in the art world 
itself, and in that of the art lovers whose collections his brush 
has enriched, he enjoys an esteem which is commensurate with 
his genius, at once so brilliant, original, and sincere. 


No. 153—Velasquez Painting the Infania. 


SALMSON (Huco FREDERICK), . Sweden. 


At the commencement of the year 1860, Professor Voklund, 
who presided over the Academy of Fine Arts at Stockholm, 
pointed out to an artist who was visiting the school a modest- 
looking young man of sixteen or seventeen, who was painting in 
the life class from a nude model. He was working with the 


simplest palette, and only a couple of brushes, but his figure, — 


for accuracy of form and color, was by far the best in the class. 
The professor, enthusiastic in the cause of his favorite pupil, 
predicted for him an artistic future of which his student work 
was an earnest. The youth whom he commended was Hugo 
Frederick Salmson, a native Swede of the city in which he 
began his study of his art. From the Stockholm Academy 
Salmson emerged with sufficient courage to establish himself in 
a modest studio, where he painted genre pictures based on the 
history of his Fatherland. These had sufficient merit to pro- 
duce patronage for him, and in 1869 he was enabled to proceed 
to Paris, where, at the Ecole des Beaux Arts, and under Charles 


BIOGRAPHICAL NOTES AND INDEX. 67 


Compte, he still further improved his technical knowledge and 
his experience. In 1871 his progress secured for him the appre- 
ciation of his native city, in the form of his being elected a 
member of the Stockholm Academy, and in 1879 he achieved a 
second triumph in his Salon picture, representing an arrest in 
a village in Picardy, being purchased from the exhibition by the 
government for the Luxembourg collection. 


No. 5—A Swedish Lady. 
SCALBERT (Ju ss), France. 


Born at Douai. Pupil of Pils and M. C. Petit. Salon Exhibi- 
tion, 1885. 


No. 52—An Unwelcome Guest. 


SCHLESINGER (Fsi1x), Germany. 


Born at Hamburg, Oct. 9, 1833. Genre painter. Pupil of 
Diisseldorf Academy and of Jourdan. Lived for several years 
in Paris, and settled in Munich. 


No. 54—TZhe Country Doctor. — 

SCHMIDT (TuHeopors), Germany. 
Director of the Royal Gallery, Dresden. 

No. 192—faphael’s Sistine Madonna. 

SCHOLZ (M.), . Germany. 


Contemporary German School. A well-known painter of genre 
subjects. Studio in Munich. 


No, 100—AMonk. 
SCHREYER (ApoLpH), Germany, 


There is no suggestion of the German in the art of Schreyer, 
yet it was in that most German of cities, Frankfort-on-Main, 


68 


THE POWERS COLLECTION. 


that he was born in 1828. Theophile Gautier, who admired his 
pictures to the verge of extravagance, once defined him as ‘‘a 
Teutonic accident.” Schreyer was fortunate in coming of a 
family of wealth and distinction, in consequence of which he 
was permitted from his youth an independence of movement 
and study which liberated him from the then restricted in- 
fluence of his native art. He traveled much, and painted as 
he went. In 1855, when his friend, Prince Taxis, went into 
the Crimea, he accompanied the prince’s regiment, and at this 
period he began producing those battle scenes which gave him 
his first fame. Wanderings in Algiers and along the North 
African coasts into Asia Minor, resulted in those pictures of 
Arab life which are so popular, while visits to the estates of his 
family and his friends in Wallachia provided him with another 
of his familiar classes of subjects. Schreyer is essentially a 
creative painter. He finds his subjects in nature. His mem- 
ory is a mine of models for him. But everything he paints is 
imbued with his own spirit, too dashing and bold and resolute 
to secure the subtle poetry of Fromentin, and too refined in feel- 
ing to rival the fierce force of Delacroix, but always instinct 
with life, movement, and the ripe and rich reflection of the 
artist’s colorful mind. Between these two great painters 
Schreyer’s manner is a happy compromise, entirely independent 
of servile imitation; an expression, in fact, of a sympathetic 
recognition of kindred spirits in them. Until 1870 Schreyer 
was a resident of Paris, but since that time he has divided his 
life between that city and his estate at Kromberg, near Frank- 
fort, where he lives surrounded by his horses and hounds, prac- 
tising his art with an energy that advancing years have been 
unable to impair. He was invested with the Order of Leopold 
in 1860, received the appointment of court painter to the Duke 
of Mecklenburg in 1862, is a member of the academies of Ant- 
werp and Rotterdam, and received first medals at all the im- 
portant European expositions between 1863 and 1876, 


No. 189—Hungarian Draught Horses, 


BIOGRAPHICAL NOTES AND INDEX. 69 


SCHUTZE (W11HELm), Germany. 
Born at Berlin, in 1814. Genre painter. Pupil of Kléber. 
Very successful in homely scenes of lively composition and good 
coloring. 


No. 176—Biindman’s Buff. 


SEIGNAC (Pavt), France. 
Born at Paris. <A pupil of Picot, he early became a member of 
the colony of artists which gathered around the late Pierre 
Edouard Frére at Ecouen. He paints in the same vein and with 
much the same selection of subjects as that master, and has pro- 
duced some attractive and popular works, especially in the qual- 
ities of homely sentiment and domestic feeling. 


No. 34—Shelling Peas. 
No. r10—Lesiing. 


SEITZ (Anron), Germany. 
Born at Ratham-Sand, near Nuremberg, Jan. 23, 1829. Pupil 
of Munich Academy. Professor and honorary member of the 
Royal Academy of Munich. Gold medals at Munich and 
Vienna. Chevalier of the Bavarian Order of St. Michael. 


No. 132—TZhe King of the Riflemen. 
No, 219—TZhe Card Players. 


SIMONI (G.), Italy. 
A painter much in vogue with the patrons of the modern Roman 
School of water-color painting. His pictures are very cleverly 
painted, and possess always an attractive quality, which is due 
to his direct methods and brilliant color. Studios in Florence 
and in Rome. 


No. 127— Waiting for the Bey. 


No. 247—Cavater and Jester. 
No. 248—Harem Interior. 


70 THE POWERS COLLECTION. 


SOHN (Kart FERDINAND), Germany. 
Born at Berlin, 1805 ; died in Cologne, 1867. Pupil of Berlin 
Academy, under Schadow, with whom he went to Diisseldorf in 
1826, and to Italy in 1830. Became professor at the Diisseldorf 
Academy in 1838, 

No. 97—Diana and her Nymphs. 

No. 200—Zraveling Locksmith, 


SOULAEREIR (F.), Italy. 
Contemporary Italian School. A water-color painter whose 
works are notable for crisp handling and brilliant color quality. 


No. 15— Bonjour. 


STANECK (E.), France. 


Contemporary French School. A painter of genre subjects 
whose work is marked by breadth and clever handling. Studio 
in Paris. 


No. 191—Bon Voyage. 


STORY (Grorce H.), United States. 


Born at New Haven, Conn., 1835. Was a pupil of Charles 
Hine and Professor Bail, New Haven. First exhibited, 1867, 
at the National Academy, New York. Studied in Europe, 1874 
and 13875. Member of the National Academy of Design and 
the Artists’ Fund Society. 


No. 237—A Cape Ann Fisherman. 


STREITT (Franz), Austria. 
Born at Brody, Galicia, in 1839. Genre painter. Pupil of Cra- 


cow Art School, and Vienna Academy under Engerth. Settled 
in Munich in 1871. Medal, London, 1871. 


No. 221—An Accident, 


BIOGRAPHICAL NOTES AND INDEX, 71 


TAMBURINI (A.), Spain. 


Pupil of Ciceri and Bonnat in Paris. Medal, Academy of Fine 
Arts, Florence. Various medals, Rome and Florence. 


No. 103—A Good Hand. 
No. 204—TZhe Choice Vintage. 
No. 252—Hard Luck. 


TENIERS (Davin, THE YOUNGER), Holland. 


David Teniers, the Younger, was born at Antwerpin 1610. He 
was taught painting by his father, and by Adrian Brouwer. He 
was appointed Court Painter and Chamberlain to the Archduke 
Leopold William, Governor of the Spanish Netherlands. His 
works were eagerly sought after, and their merits were highly 
appreciated. He died at Brussels, in 1649, and was buried at 
Perth. 


No. 30—TZhe Rivals. 
TENIERS (Davin, THE ELDER), Holland. 


Born at Antwerp in 1582; died there July 29, 1649. Flemish 
School. History, genre, and landscape painter. Pupil of his 
elder brother Juliaen (1572-1615), of Rubens, and in Rome of 
Adam Elsheimer. Master of Antwerp Guild in 1606. Painted 
chiefly peasant scenes combined with landscape, but occasionally 
biblical and mythological subjects. 


No. 211—Dziana and her Nymphs. 
TEN KATE (HERMAN FREDERIK CAREL), Holland, 


Born at The Hague, Feb. 16, 1822. Genre painter. Pupil in 
Amsterdam of Cornelis Kruseman. Won a medal at the 
Academy there when nineteen. Went to Paris for one year ; 
returned to Amsterdam, and settled at The Hague. Honorary 
member of Rotterdam Academy, 1856. 


No. 180—A Forced Contribution, 


72 THE POWERS COLLECTION, 


THOMPSON (Harry),  Baetand, 


Born at London. Contemporary genre and landscape painter. 
Pupil in Paris of Charles Frangois Marchal and Charles Busson. 
Medal, 3d class, Paris, 1884. 


No. 76—Landscape and Cattle, 
No. 177—Landscape and Sheep. 


THORS, England. 
Contemporary British School. Studio in London. 


No. 140—Luglsh Landscape. 


TOULMOUCHE (Aucustr), France. 


Born at Nantes, 1829. Pupil of Gleyre. Adopted a style of 
subject founded on daily events of fashionable life of a piquant 
character. A careful painter of detail, especially in textures, 
and an accurate draughtsman. Medals, 1852, 1859, 1861, 1878 ; 
Legion of Honor, 1870. 


No. 117—A Sweet Reverie. 


TROYON (ConsTANTINE), France. 


A man of a rustic manner, bluff and bold, who might have been 
one of the gamekeepers or herdsmen whom he painted—such 
was Constant Troyon. Troyon was born at Sévres in 1810, and 
worked in the porcelain manufactory, as his father had done 
before him. Riocreux, the flower painter there, taught him to 
draw, and at twenty years Troyon was a student of landscape 
painting from nature with some advice and encouragement from 
Roqueplan, whom he met on one of his sketching tours, and who 
became interested in him. It was as a landscape painter that 
Troyon made his début in the Salon of 1833, and in this walk he 
displayed a sentiment for light and color of the first order; but 
in 1847 he astonished the Salon, after a trip to Holland, where 
he had studied the Old Dutch Masters closely, with a cattle 
piece so splendid in spirit and so powerful in color and vivid 


BIOGRAPHICAL NOTES AND INDEX. 73 


realism that his fame was established at a single stroke. In 
1849 he was decorated with the Legion of Honor, and the aug- 
mentation in the prices and the popularity of his works made 
him rapidly rich. The great school of French cattle painting, 
whose foundation Bracassat had laid, Troyon built up. He 
gave to the brutes he painted, life and soul. His oxen have the 
grand movement of nature; his cows ruminate the cud and 
watch you with their soft eyes ; his sheep bleat an appeal out of 
the canvas, and the dog which guards the flock or travels at the 
heel of the poacher or the gamekeeper only needs to bark to be 
alive. Poetry saturates his art-—the humble rustic poetry which 
becomes majestic through its very simplicity. Troyon’s color, 
his appreciation of light, and the ripeness of harmony and tone 
which characterized his pictures, were sustained to thelast. He 
won medal after medal, at Salons and expositions, and enjoyed 
for nearly twenty years an uninterrupted course of honor and 
prosperity. Like Corot, he remained unmarried, content with 
his art and helpful of the younger talents whom his genius 
attracted to him, and upon whom he made an impression which 
one sees reflected still in French art. Sixty masterpieces from 
his brush graced the Salon between 1833 and 1865, in which 
latter year his splendid career passed into a splendid memory 


No, 149—TZhe Shepherd. 


VAN MARCKE (Ems), France. 


The most distinguished pupil through whom Troyon bequeathed 
to the succeeding generation a reflection of his own genius was 
Emile van Marcke. Van Marcke was born at Sévres in 1827, of 
artistic stock. He was employed in the porcelain works as a 
decorator when he attracted the attention of Troyon. The lat- 
ter was in the practice of making a weekly visit to his mother, 
who resided at Sévres, and so the young decorator and the elder 
artist were frequently in contact. The constant sermon of 
Troyon was that the gifted youth should go to nature, and Van 
Marcke, in the time spared from his trade, obeyed the injunc- 
tion. He, however, lacked the confidence to produce original 


74 THE POWERS COLLECTION, 


work until the encouragement of Troyon again came to his aid, 
and a certain degree of success emboldened him to abandon the 
pottery for a studio in Paris. Van Marcke’s early pictures 
betray strongly the feeling and influence of Troyon. While 
more careful in drawing and more elaborate in detail, their color 
and technique show the association of the master. But with 
increasing confidence and experience, Van Marcke created a 
style, with which he is now thoroughly identified. His color 
became fresher, livelier, and more brilliant, and his effects of 
light brighter and more sparkling. He was a master draughts- 
man, equally a master of composition, and the grouping and 
modeling of his cattle are always pictorial and true. His land- 
scapes are of an equal degree of excellence, and are replete with 
the charm of a joyous and smiling nature. Effects of midsum- 
mer midday and of showery skies over pastures enriched by a 
humid soil find particularly happy rendition at his hands. Van 
Marcke appeared first at the Salon in 1857, and has been repeat- 
edly medaled in 1867, 1869, 1870, and at the Zaposition Unt- 
verselle of 1878 received a medal of the first class. He was 
invested with the Legion of Honor in 1872, and since then he 
received many additional medals of honor. Died Jan. 7, 1891. 


No. 47—Aich Pasturage. 
No. 185—Cows in a Pool. 
No. 257—Catte. 


VELY (ANATOLE), France. 


Born at Ronsay (Somme), Feb. 20, 1838; died at Paris, Jan. 
II, 1882. History and genre painter. Pupil of Valenciennes 
Academy and in Paris of Signol, and the Ecole des Beaux 
Arts. Medal, 3d class, 1874; 2d class, 1880. 

No. 166—Francesca da Rimini and Paolo. 

No. 272—TZhe Heart's Awakening. 


VERBOECKHOVEN (EucEne JosEpH), Belgium. 


Born at Warneton, West Flanders, 1799. Pupil of his father, 
the sculptor Barthélem Verboeckhoven, and studied in England, 


Re ry f os 
3 Re : 


BIOGRAPHICAL NOTES AND INDEX. 75 


Germany, France, and Italy. Made the painting of animals his 
specialty, and characterized his pictures by a minutely accurate 
execution in drawing and color. Settled in Brussels in 1841. 
Was a member of the Academies of Brussels, Ghent, Antwerp, 
Amsterdam, and St. Petersburg; of the Legion of Honor; | 
Commander of the Order of Leopold, of that of Francis Joseph, 
of the Order of Michael of Bavaria, the Order of Christ of Por- 
tugal, and the Iron Cross. Died in 1881, 


No. 151—TZhe Sheep Cote. 


VERHAS (Jay), Belgium. 


Born at Termonde, Belgium. Medals at Philadelphia, 1876; 
Brussels, 1878 ; Paris, 1881; Vienna, 1882. Order of Leopold, 
1879. Legion of Honor, 1881. 


No. 256—Jn the Boudotr. 


VERNET (HorAce), France. 


Born at Paris of a distinguished artistic family in 1789, Horace 
Vernet became the chief battle painter of France, as well asa 
distinguished painter of historical and genre subjects. He 
was a pupil of his father, and of Moreau and Vincent, and 
in 1814 Napoleon I. decorated him with the Legion of Honor 
with his own hands. He carried off every honor which France 
could extend to her artists, and died at Paris in 1863. 


No. 139—TZvraining Horses. 


VIBERT (JEAN GEORGES), France. 


One of the strongest individualizations among the artists of Paris 
is Vibert. He is not only a painter but a satirist of drastic 
power and an author of pointed excellence. He is a Parisian 
by birth, and if he may be said to be a pupil of any one, his 
master must be considered to be Barrias, although he also did 
some early work under Picot. He first exhibited at the Salon of 
1863, and made a virtual failure. His active intelligence gave a 


76 THE POWERS COLLECTION. 


new direction to his art, and seven years later, at the age of 
thirty, he was decorated with the Cross of the Legion for his 
‘* Roll Call after the Pillage.” His good-humored satires on 
the hypocrisy and self-indulgence of monkish and ecclesiastical 
life did much toward advancing him in popularity, and one of 
the latter, ‘‘ The Missionary’s Story,” may be recalled as having 
been sold in this city, at the sale of Mrs. Morgan’s collection in 
1886, for $25,000. Vibert was not content with triumphs in oil 
alone, but spurred by the exploits of Fortuny in water color, he 
began in it a series of experiments that have placed him among 
the first aquarellists of the world. He was the leader in the 
movement that resulted in the formation of the now powerful 
Society of French Water Colorists, a society that, by its lofty 
standard, really forced the Salon into a marked reform in the 
character and improvement in the quality of the pictures it — 
accepted for exhibition. 


No. 29—An Uneven Game. 
No. 130—Zhe Disclosure. 
No. 239—Jnspecting the Fort. 
No. 249—Lehearsing. 


VINEA (FRANCESCO), Italy. 


Born at Forli in 1846. Genre painter. Pupil in Florence of 
Pallastrina. Paints mostly scenes in the costumes of the six- 
teenth and seventeenth centuries. Gold medal in Berlin, 1886. 


No. 22—Zhe Favorites, 


VOLTZ (Friepricn), Germany. 


Born at Nérdlingen, 1817. Pupil of his father, Johann Michael 
Voltz a well-known painter of history and genre. Studied at 
the Munich Academy ; painted in the Bavarian Alps, in Italy, 
the Low Countries, Paris, Vienna, and Berlin, and then settled 
in Munich. Member of the Munich, Berlin, and Vienna Acad- 
~ emies ; Professor at the Munich Academy ; Knight of the Prus- 


BIOGRAPHICAL NOTES AND INDEX. 17 


sian Order of the Red Eagle and the Bavarian Order of St. 
Michael ; medals of gold at Berlin, 1856, 1861 ; Grand Medal 
for Art of Wiirtemberg, etc. His works have set him at the 
head of the school of landscape and cattle painters in Germany. 


No. 55—Cattle, Meisenger Lake. 
WALKER (Horatio), United States. 


Member of the Society of American Artists ; National Acade- 
mician ; Member of the American Water Color Society. One of 
the best known and ablest of American painters. Studio in New 
York. 


No. 134—S¢rtking a Bargain, 


WEEKS (Epwin Lorp), United States. 


Born at Boston. Chevalier of the Legion of Honor of France, 
1896 ; Officer of the Order of St. Michael, Bavaria, 1898 ; Grand 
Diploma of Honor, Berlin ; 1st Class Medals, Exposition Unt- 
verselle, Paris, 1889; Munich, 1897; Dresden, 1897; Medal, 
Paris Salon, 1889; Honorable Mention, 1885; Gold Medal, 
Philadelphia Art Club, 1891 ; Medals, Atlanta; Boston; Special 
Medal and prizes, Empire of India Exhibition, London, 1896 ; 
member of Paris Society of American Painters ; Corresponding 
member of The Secession, Munich; represented in the Cor- 
coran Art Gallery, Washington, D. C. ; Pennsylvania Academy 
of Fine Arts; member of the Committee of Direction, Exposi- 
tion at Monaco; pupil in Paris of the Ecole des Beaux Arts, 
Bonnat, and Géréme ; sketched and painted in Cairo, Jerusalem, 
Damascus, and Tangiers, and is particularly noted for pictures 
of Eastern life ; member of Boston Art Club, 


No. 14—Scene in Cairo. 


WILLEMS (FLorEnN?), Belgium. 


Born at Liége, Jan. 8, 1823. Genre painter. Pupil of Mechlin 
Academy ; studied especially the Old Dutch Masters and at- 


78 THE POWERS COLLECTION. 


tracted attention as early as 1840. The great success of his pict- 
ure exhibited in Paris in 1844 induced him to settle there. 
Medals: Paris, 3d class, 1844; 2d class, 1846; Ist class, 1855, 
1867, 1878 ; Legion of Honor, 1853 ; Officer, 1864 ; Commander, 
1878 ; Officer of Order of Leopold, 1851, 


No. 169—Zhe Vow. 
WINTERHALTER (Franz XAviER), Germany. 


Born at Mengenschwand in the Black Forest, April 20, 1806 ; 
died at Frankfort, July 8, 1873. Portrait and genre painter. 
Pupil of Munich Academy and of Stieler. Went in 1828 to. 
Carlsruhe, where he was made court painter. Spent several years 
traveling in Italy, Spain, Belgium, and England ; and, in 1834, 
settled in Paris, where for more than thirty years he was the 
portrait painter par excellence of royalty and of the aristocracy, 
especially of women. Medals, Paris, 1836, 1837, 1855; Legion 
of Honor, 1839; Officer, 1857; Order of Red Eagle, 1861; 
Wiirtemberg Crown Order; Commander, Order of Francis 
Joseph, and many others. 


No. 195—Susanna and the Elders. 
WOOD (THoMAs WATERMAN), United States. 


Born at Montpelier, Vt., Nov. 12, 1823. Portrait and genre 
painter. Pupil of Chester Harding in Boston. Studied in Paris 
in 1858-60, and visited Italy and Switzerland. He painted in 
Louisville and Nashville before opening a studio in New York, 
1867, President of the National Academy of Design. 


No. 231—‘‘/ Reckon,” 
WORMS (Juss), France. 


Born at Paris, 1837. Pupil of Lafosse. First exhibited at the 
Salon in 1859. He spends much of his time in Spain, where 
the subjects of most of his pictures are found. Medals, 1867, 


BIOGRAPHICAL NOTES AND INDEX. 79 


1868, 1869, 1878 ; Legion of Honor, 1876, One of the founders 
of the French Water Color Society. 


No. 186—Before the Alcalde. 


WRIGHT (G.). United States, 


No. 240—TZhe Smoking Room. 
YENO (Kéménpv), Hungary. 
A Hungarian painter of great repute. Studio in Munich. He 
is well known as a painter of genre subjects, and combines 


cleverness of handling with the popular quality of telling a story 
effectively. 


No. 19—TZhe Artist’s Studio. 
No, 241—TZhe Téte-a-téte. 


ZAMACOIS (Epovarp), Spain. 


Born at Bilboa, Spain, 1843. Pupil of Meissonier. Made his 
début at the Salon of 1863. Medal, Paris, 1867. Died, 1871. 
Diploma to the Memory of Deceased Artists (Zxfosition Uni- 
verselle), 1878. A Spaniard with the wit of a Frenchman, a 
painter with the satire of Goya and the art of his master Meis- 
sonier, it is no wonder that the début of Zamacois in 1863 was 
hailed by Paris as the rising of a new sun over the horizon of art. 
The artist was then twenty-three years of age, burning with the 
fire of youth, and spurred by the daring of an audacious and 
fecund brain. At each succeeding Salon his exhibits widened 
his popularity and augmented his reputation, which was crowned 
in 1870 by his ‘‘ Education of a Prince,” a satire so bitter and 
scathing, yet withal so brilliant in its execution, that reproba- 
tion was disarmed by the genius of which it was the evidence. 
The picture was the swan-song of the artist. He died in 1871, 
having scarcely turned his thirtieth year. The life work that 
he left formed a series of gems, sparkling with wit and color, 
in which the influence of Meissonier showed in a certain deci- 
siveness of handling, but which were thoroughly individual and 


80 


THE POWERS COLLECTION. 


unique. Like Moliére, with whose genius that of Zamacois 
displays a decided affinity, the effect of the artist’s work was 
always allied with, and supported by, the extremest elegance of 
execution. He was fond of daring experiments of color, and 
his pictures were a perpetual amazement and delight to artists 
more timid and less original, who acknowledged in the fiery 
young genius from Bilboa one worthy to take his place among 
those masters whom Paris was proud to call her own, irrespec- 
tive of their birth or blood. 


No. 228—Levying Contributions. 


ZAMPIGHI (E.), Italy. 


Contemporary Italian School. His works show the influence of 
Fortuny and other masters of the Spanish-Roman School of 
water-color painting. Studio in Tangiers, Morocco. 


No. 246—TZhe Gun-maker of Tangiers, 


ZiEM (FEtIx), France. 


Born Feb. 25, 1821. In the earlier stages of his career, Ziem 
painted many fine pictures of French, Dutch, and Turkish 
scenery, but it was when he commenced to develop the mine of 
material in the Queen of the Adriatic that he struck the key- 
note of his vocation. A native of Beaune, in the Céte d’Or, 
he was graduated out of the art school of Dijon, and began 
his productiveness by records of his wanderings in South- 
ern France. He received his first Salon medal in 1851, for a 
picture of Dutch scenery, and was admitted into the Legion of 
Honor in 1857 for his views of the Golden Horn at Constanti- 
nople, and the Place of St. Mark at Venice. He has been an 
Officer of the Legion since 1878. His color, which is the 
strongest feature of his art, has the grand and mellow splendor 
of the greatest period of ancient art. His sunsets flame with 
subtle melodies of color. His dawns over the lagoons and canals 
of the Adriatic have the palpitating blaze of jewels. Where 
Rico gives us the Venice of broad daylight, scintillant with real 


BIOGRAPHICAL NOTES AND INDEX. 81 


sunbeams, and brilliant with wide and penetrating light, Ziem 
translates her mornings and her evenings into rhythmic notes of 
color, which bring up in the memory of the spectator scraps of 
the verses of De Musset, of the descriptions of Gautier, and of 
the romances of Venice’s own history in its days of imperial and 
irresistible power. 


No. 121— View in Venice. 


ZIMMERMAN (REINHARD SEBASTIAN), Germany. 


Born at Hagenau, on Lake Constance, Jan. 9, 1815. Genre 
painter. Pupil of Munich Academy, where he was much in- 
fluenced by Robert Eberle. Lived, in 1844-45, in Paris as 
portrait painter, and after visiting England and Belgium, re- 
turned to Munich in 1847, and attained his first great success, in 
1850, with the humorous ‘‘ Three Magi,” followed by numerous 
masterly and characteristic genre pieces of brilliant execution. 
Member of Berlin Academy, 1886. Gold Medal, Berlin. 


No. 157—Preparing for the Rehearsal, 
No. 171—Boys’ Industrial Home. 
6 


CATALOGUE 


FIRST NIGHT’S SALE 


Wednesday, January 18th, at 8 o’clock 


cr ren aceasre nth Set N RN RT ORT! 


AT CHICKERING HALL 


; I 
7 i f 
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4h. alder ?  KORIECS AR yey 
3 Sacred Oxen 
Cabinet picturein the manner of Pettenkofen. Two white oxen with very 


long horns are seen curiously harnessed to a cart which carries a driver in 
modern Slav costume. Very effective in color, and simply conceived and 


executed, 
Signed at the right. Height, 5% inches ; length, 8 inches, 
a 
@ 
/ - Sie TAAL 2K LS Ss 


-» The Pretzel Boy 


Cabinet picture of a nice, clean looking boy with a great square basket filled 
with his wares hanging before him by a strap over his shoulder. He is 
counting his pennies, and seems to be a good little man of business. 


Signed at the right. Dated, 1882. Height. 9 inches ; width, 7 inches. 


OTTO PILTZ ee oi 
Grandpa's Pet 


The old gentleman, ina blue cap, is teaching the baby how to stand up on 
his knees, and shows in his face evident interest in the operation. 


Signed at the right upper corner. Height, ro inches ; width, 7 inches. 


VAN 4 


F. DE CHAMBORD : 


¢¢ Marie 49 4. feu) SAN ot. pel 


Cabinet picture of a girl in blue with a By scarf, seated, in half-length se 


view. Her gown is decolleté, and her hat of blue and yellow, with feathers, 
matches her gown. 


Signed at the right upper corner. Dated, 188r. 
Height, 8 inches; width, 5% inches. 


Df oe 5 p 
JS, ae Leber 


HUGO SALMSON -, 
A Swedish Lady © 


Small cabinet picture of a lady in a pink robe, with a white shawl, standing 
before a piano, with her face turned to the spectator. A unique example of 
Salmson. 


Signed at the right. Height, 8 inches; width, 6 inches. 


6 
Vl ee Mi 


French Cavalry 


These troopers wear the uniform of the Second Empire. Three officers are 
seen in a group, on the left of the canvas, sitting on their horses, and one of 
them is scanning the horizon with his glass. The main body of the troops 
appears on the right. The sky is gray and the ground is lightly covered with 
snow. The picture, painted in a scheme of grays, is made very effective by 
the judicious use of red notes. 


Signed at the right. Height, 8 inches; length, 12 inches, 


G.HYON 4. Ay, Li da an 


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4 


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Jp rr Harr rll, 7 Uf dO. *2 
EDOUARDO EROLI 
La Fille du Regiment 


Scene in an Italian camp, with a cantiniére giving a drink to a trooper. The 
uniforms belong to a period inthe eighteenth century. Thecolorsare gay and 
brilliant. 


Signed at the right. Dated, 1876. Height, 16 inches; width, 114 inches. 


8 
7 fe Vi L au aetAl A. TAMBURINI of Dre 
ead, An Old Monk 


The nant in his costume of rich violet, brown, and white, has his hands 
folded on the handle of a brazen vessel in his lap. With his spectacles on his 
nose, as he looks downward in meditation, he presents a picture of well-fed, 
pious contentment. 


Signed at the left upper corner. Height, 12 inches ; width, ro inches. 


| 9 
Dr. Aircdl - Ores BRETON OD Pole tai 


Portrait of Himself 


A cabinet portrait of Jules Breton painted by himself when a young man. 
It is in three-quarter length, and the subject wears a white shirt and volu- 
minous neckcloth. The left hand rests on the hip. The date shows that the 
artist was nineteen years of age when he executed this interesting work. 


Signed at the right, ‘‘ Courriéres, 1846.” 
Height, 14 inches; width, 10% inches. 


fi Be. LA, a , 
GH McCORD ex OD, FO 


Winter Night 


Cabinet picture of a pretty winter landscape, with snow, and a church 
lighted up, and the moon high in the clouds. Suggestive of Christmas eve. 
A charming bit, with much feeling in the treatment. 


Signed at the right with monogram. Height, 8 inches; width, 6 inches. 


1 i Pg 


Oe ie 


ie II Bia LA 


JOSE BENLLIURE 
The Picador’s Reward 


The picador, crossing the arena before the crowded seats of the bull ring, 
turns, hat in hand, to acknowledge the applause from the benches. The 
ground is strewn with cigars, fans, hats, and other tokens which have been 
thrown at his feet by the enthusiastic crowd. The execution is broad and 
free, and the central figure is painted with sturdy realism. 


Height, 21 inches; width, 14 inches. 


12 
GOMEZ PLASERT 
Strolling in the Park 


A lady, in street costume of more than a decade ago, with brown skirt and 
sealskin jacket, is here seen bya riverside, with pleasure boats, and pretty 
foliage on the opposite bank. The head is charming in type, and the entire 
picture is executed ina direct sort of style that makes it very effective. The 
color is agreeable and veracious. 


Signed at the right. Dated, 1886, Height, 22 inches; width, 18 inches. 


OSWALD ACHENBACH 
Garibaldi’s Caprera Home 


The composition shows an humble dwelling with white stucco walls on the 
island of Caprera, which lies in the Mediterranean east of the northern point 
of Sardinia. Here Garibaldi lived from 1854 until his death except during the 
time spent in his famous Italian campaigns. The effect is one of sunlight, 
with a blue sky, and the sea in the distance to the right of the picture. The 
light is so distributed as to draw the gaze of the beholder to the chief object 
of interest—the rugged little house on the cliff. Painted with breadth, and 
attractive in color. 


Signed at the right. Height, 18 inches; length, 25 inches. 


7 vse Pan derhh. 14 : wt ao 
| E. L. WEEKS , 


Scene in Cairo 


A very brilliant example of this noted artist’s Oriental pictures. The scene 
shows a richly-clad horseman, with elaborate trappings on his Arab steed, who 
has brought a fine black horse to the doorway to be inspected by two sheiks. 
There are other figures about, and the setting consists of Moorish architecture 
remarkably well painted. Through an archway at the right isa view ofa 
market-place and a patch of blue sky. Color and drawing are of a high order, 


Signed at the left, Height, 15 inches; length, 18 inches. 


let 4. 15 Less 


F. SOULAEREIR 


Bonjour 


A very attractive single figure of a beautiful woman, in a luxurious costume 
of pink satin, with green flowered satin overdress attached on the shoulders 
atthe back. She is seen parting the silk-lined portiéres as she emerges from 
her boudoir with a smile of welcome. She is of the Southern type of blonde 
beauty, and presents a most engaging appearance in her elegant surroundings. 


Signed at the left. Height, 33 inches ; width, 161% inches. 


16 


¥. be Autre F, MIRALLES iv Fo.” 


A 
Recreation 


Two Parisian young women, in a secluded nook in the wood by a brook- 
side. One, in brown, is seated on a camp-chair facing the spectator; the 
other, in mauve costume, lies flat on her back in the grass and herbage, 
and looks up at a bunch of flowers which she holds in her hand. Figures and 
landscape are painted with artistic snap and go, and the picture is very mod- 
ern and attractive. 


Signed at the right. Height, 23 inches ; width, 19 inches. 


— 


6G. % 17 yi un 


ERSKINE NICOL! 
An English Family 


ACR Q 


A typical English scene, showing a landed proprietor and his lady convers- 
ing with the aged porter at the lodge gates before entering their property. 
There are other figures, and the architectural features are quaint and 
interesting. 


Signed at the left, Height, 17% inches ; length, 2234 inches. 


ee Nahe 18 af 43. Kavos 
A. RIGON 


Wedding at the Castle 


This gay scene presents a great multitude of fine ladies and gentlemen about 
the perron and staircase of a lordly chateau. A pink-striped silken awning is 
spread overhead from the portico to the great trees which line the avenue. 
The costumes are very brilliant, but the harmony of color is excellent. The 
work is painted somewhat in the manner of Isabey, and the general effect is 
most pleasing and attractive. 


Signed at the right. Height, 2534 inches ; width, 20% inches. 


Sug 19 Bg AU vette 


KEMENDY YENO 
The Artist’s Studio 


The artist, seated at his easel, has paused in his work, and with his head 
thrown back to look up at his wife, who is standing by his side with her hand 
on his shoulder, seems to be saying that he will leave his picture and come to 
luncheon. The work is frankly and solidly painted, with the best traditions 
of the Munich School, and the quiet color notes of blue, gray, and terra-cotta 
make an agreeable harmony. Especially notable is the drawing of the 
artist’s head in its foreshortened position. 


Signed at the right. Height, 28 inches ; width, 20 inches. 


Barge 20 : VAT fa Te 


AYN PEZANT 
Cattle 


A black-and-white cow grazing and a red cow lying down in the pasture. 
Beyond the hedge are seen the farmhouse, and, on the hill, cottages and 
barns. The sky is filled with slaty gray clouds, and there is a fine harmony of 
reserved color in the picture. 


Signed at the right. Height, 19 inches; length, 23% inches. 


rg newampes ei} | aa et ta ier 


E. L. GARRIDO 
Promenading 


Scene on a wide Parisian street, or boulevard, with the Column of July in 
the distance. Numerous figures in the foreground, all of them women and 
children, except two sergents de ville, or policemen, who are chatting together. 
The brown foliage on the trees which line the street shows that it is autumn, 
and the women wear their jackets and the policemen their overcoats to pro- 
tect them from the frosty air. Painted with the characteristic energy and 
interest of this clever artist. 


Signed at the right upper corner, Height, 21 inches; width, 17 inches. 


SY APB Ch alter 22 
+ Mebeiaty Hi bem faci aa nisl 


The Favorites 


A handsome woman in a rich costume of white satin with trimming of gold 
braid, a large Louis XIII. gray hat and plume, while drawing back a tapestry 
portiére, turns her head with a smile of welcome to a pretty white lapdog, 
who looks up at her as he advances. A white parroquet, perched on the 
lady’s left hand, may be supposed to occupy only a secondary place in her 
affections. The accessories denote a luxurious home, and the picture is 
effectively handled throughout. 


Signed at the right. Dated, 1883. Height, 18 inches; width, 14 inches. 


~<) boa” 


23 on OR ae ough 


A. EN Gra: 
A Jack Tar 


A young sailor, seated on a big piece of timber on the seashore, is smoking 
his pipe and looking intently at something that attracts his attention in the 
landward direction. He is a sturdy, fellow, and his head and figure are 
relieved with fine effect against the gray sky and the broad expanse of calm 
sea which reflects the light color of the clouds. 


Signed at the right. Height, 2014 inches; width, 16 inches. 


ri Hn pax + 


MEYER VON BREMEN 
Girl Reading 


Seated on a bench beside a table, with a window at the left and pots of 
plants on the sill, a little girl is shown reading from a large book which she 
holds on her knees. The light falls on her golden head and is reflected on 
her face from the open pages, making a delightful effect. The expression is 
very sweet and attractive, and the conception of the subject simple and pure. 
It isa lovely representation of the innocence of childhood. 


Signed on the border of the tablecloth. Dated, 1848. 
Height, 1634 inches ; width, 13 inches. 


2 ro.” 3 (tat De 


M. RICO 


Scene in Venice 


In the center, a bridge over a canal, with people passing over or loiter- 
ing; on either side, houses with their picturesque architecture, and color 
effects made by the gaily colored awnings, blinds, and curtains. Over alla 
sky of intense blue. The water reflects the whole ina shimmer of light and 
shadow. 


Signed at the right. Height, 28inches; width, z9 inches. 


26 Ae an tet 
E. MUNIER 


Feeding the Pigeons 


A graceful figure of a girl in Greek costume of white, standing by a foun- 
tain with pigeons all about her. The setting for the figure consists of classical 
architecture and decorations, The feminine type is charming, the drawing 
excellent, and the color scheme delicate. 


Signed at theleft. Dated, 1876. Height, 25 inches ; width, 13 inches. 


es. 4. a oo.” 


O. DE PENNE 
Wild Boar Hunt 


Astirring episode of the chase at the moment when the hounds surround 
the savage quarry at the edge of a forest. A fight is inevitable. This is 
acharacteristic example of De Penne’s painting of dogs and hunting scenes, 
in which he isa past master. The landscape shows an effect of early autumn, 
and is broadly and energetically painted. 


Signed at the right. Height, 21 inches ; width, r7 inches. 


BD. Kars oe a2: a ger AP adi: 
| DOUARD FRERE 


Maternal Love 


A poor woman is seen sewing in her humble cottage, with her baby asleep 
beside her ina basket cradle. The accessories are poor and simple: an old 
chest of drawers, a crucifix on the wall,a candle,andatincup. The light falls 
from a window at the left, and is concentrated on the mother and child in the 
middleof thecanvas. The color scheme is quiet and subdued. This excellent 
example of the work of the celebrated French master of Ecouen comes from 
the George I. Seney Collection, 1891. 


Signed at the left. Dated, 1861. Height, 16 inches; width, r2 inches, 


Wes LNs, oe Pa, yey 
PL ata he 


Bob S ti bat (eae 


J. G. VIBERT 


An Uneven Game 


In a Spanish courtyard a monk and a muleteer are playing a game of cards. 
The monk is in somber brown, and the hostler in gay colors, the surroundings 
showing a faithfully portrayed bit of local scenery. It is easy to see how the 
game will end, forthe friar has one extra card in his sleeve, and another under 
his heel on the ground. The story is well told, and the expression on the faces 
is carefully studied. 7 


Signed at the left. Height, 8 inches; length, ro inches, 


ee > oh hard 


D, TENIERS (the younger) 
The Rivals 


A group of three people ina somber interior. A young woman stands on the 
left, clad in a costume of green and white, with a red headdress. She is sing- 
ing. Two young men—one seated ona bench behind her, the other on the 
floor, playing a lute—seem anxious to be in her good graces. The figures re- 
lieve against the dark background with striking effect. 


Signed at the left. Dated, 1648. Height, 12 inches ; width, ro inches. 


Bah cf x Gd. ey 


J. FRANCIS MURPHY 


Landscape 


An evening effect with a brilliant and luminous sky of yellow. A group of 
trees is seen on the right, and a brook in the foreground reflects the glowing 
tints of the sky. Though a small canvas, this work exhibits much sentiment 
and breadth of effect. 


Signed at the left. Height, 8 inches; length, ro inches. 


) KY. AYanrud 32 ane ith 
i J. A. GONZALES 
The Spanish Coquette 


In this charming little picture, a Spanish girl in her best clothes—blue bodice, 
yellow skirt, black lace, tiny blue slippers, white lace veil, and a huge red 
sash tied in a bow behind—is taking a peep in a mirror preparatory to going 
out on the promenade or to the bull-fight. The figure is excellent in character, 
and is very well painted. 


Signed at the left. Dated, 1873. Height, ro inches; width, 8 inches. 


bs. (3 doaprs 33 Po. 


G. PAPPERITZ 
After the Bath 


A young girl in diaphanous white drapery is leaning back against a great, 
bent trunk of a tree after her woodland bath. Her head is tipped to one side 
and a smile illumines her features. There isa pretty contrast here between 
the pink flesh tints and the fresh green of the foliage behind the figure. 


Signed at the right. Height, 15% inches; width, ro inches. 


eo 


Farebuk Ldther 34 i ae 
pelea PAUL SEIGNAC . 


Shelling Peas 


A scene in the courtyard of a French farmhouse, with a gate in the wall 
opening on a vista of sunny landscape. A woman and four young girls are 
seated about a table engaged in shelling the peas which are brought bya 
boy, who is emptying a basketful on the table. The grouping of the figures 
is effective, and the work is a characteristic delineation of peasant life. 


Signed at the left. Height, 17% inches; length, 21 inches, 


Z y J. BENEDICTER ; 
ih, A Dutch Kitchen 
This arched and vaulted kitchen looks like the crypt of some old abbey 
turned to every-day uses. A young woman is seen standing by a big cooking 


‘ 


range, and pots, pans, and kettles of brass and copper are hanging on the 
walls. The daylight from the window and the firelight are skilfully managed, 
and the general aspect of the work, with its strong contrasts, is very striking. 


Signed at the middle right. Height, 19 inches; length, 24 inches. 
/ 


ONAN aa 36 ol AD 
EUGENE DELACROIX 
Death of the Standard Bearer 


The soldier who carries the banner lies on the ground, and the enemy’s 
troopers are tearing away the coveted prize. A big dog, faithful to his dying 
master, attacks a soldier who is seizing the flag. In the distance the battle 
rages in smoke and the fury of fighting. 


Signed at the left. Dated, 1839. Height, 18 inches; length, 21 inches. 


EN ah 37 (0. Teoh role, 
7 W. MENZLER - 
Character Study 


This nice German beauty wears an elaborate headdress and a bodice of 
black and brown velvet trimmed with fur. Her face is seen in profile and is 
that of a charming type of the Northern blonde with blue eyes. Painted with 
skill and sobriety of resource. 


Signed at the left upper corner. Dated, 1878. 
Height, 2634 inches ; width, 18% inches, ~ 


OE ia 8 /y. Kineedthn + Qe 
J. S. H. KEVER { 
The Evening Meal 


CWater Color) 


Cottage interior, with the peasant, his wife and children seated at the table 
to partake of the evening meal of smoking soup in a big dish. It is an excel- 
lent example of one of the cleverest and most sympathetic painters of the 
Dutch Water Color School. 


Signed at the left. Height, 14 inches; length, 21 inches. 


. iad ’ ee 24, 39 


4l 
: eat 
% PP bree bak G. H. BOUGHTON iit 


EAaene JOHNSON 
The Reprimand 


A stern-looking old man, with a dingy beaver on his head, sits by the fire-” 
place leaning on hiscane. Before him is a girl of fourteen or fifteen who 
seems to have incurred his displeasure. The faces show the most searching 
study of character, and both figures are painted with sober reserve. The color 
is agreeable, and the composition bears on its face the marks of sincerity and 
truthful delineation of a characteristic American phase of life in the country. 


Signed at the left. Dated, 188. Height, 1814 inches; length, 22% inches. 


A. PASINI 


The Falconers 


Great palm bushes, tropical plants, and a pool are seen in the foreground. 
At the right, two horsemen hawking at the herons and cranes of the marshy 
country. Both show the masterly style of Pasini at his best. The sky is a 
marvel of clean, direct handling, and the picture, asa whole, is a most im- 
portant and excellent example. 


Signed atthe left. Dated, 1879. Height, 17% inches; length, 27 inches. 


Katrina Van Tassel 


This charming picture has for its subject the blooming lass of eighteen who 
was the daughter of a substantial Dutch farmer, and is celebrated in Wash- 
ington Irving’s ‘Sketch Book.” She is tripping down the snow-covered pave- 
ment along the canal in her fine, quaintly designed costume with fur-bordered 
hood and cape, her muff and her apron of embroidered cloth. Her faceis a 
sweet picture of youthful feminine beauty, and the view of the town with its 
gables and spires is delightfully represented by the artist. It isa supremely 
good example of Boughton’s work, and attractive both in subject and treat- 
ment. 


Signed at theright. Dated, 188. Height, 23 inches ; width, 15 inches. 


: oP. a 


Tt Ficee dla. © tac 40 Per Z. * 


Shy Ds 


ens 44 +. A Lie 


ay Mei ic 
GUSTAVE COURBET 


The Stone-Breakers 


This is a composition similar to the celebrated picture which made such a 
great sensation at the Paris Salon of 1851, but on a smaller scale. The canvas 
is a low-toned one, showing a hillside of dark green and a bit of blue sky at 
the upper left corner. Onthe road in the foreground are an old man on his 
knees with a hammer, and a boy with a basket. The general effect is striking 
and powerful. 


Signed at the left. Height, 20 inches; length, 24 inches. 


oO | 43 Go Jrtegan 


J. J. HENNER 
Thoughtful 


A charming head in profile view of a young girl with Titian hair, the face 
and neck painted in full light in pale but tender color, with warm shadows. 
The blue eye, red lips, and delicate flesh tints form a beautiful harmony. 


Signed at the right upper corner. 
Height, 17% inches; width, 12% inches. 


B. P. OMMEGANCK 
Landscape, Cattle, Sheep, and Goats 


A red cow is the most prominent feature of the central group. Beyond, is 
another of dun color, a white-bearded goat, sheep, and a shepherd under a 
tree. The landscape is treated with careful attention to detail. There are 
tall trees on the right, a river and hills in the distance. The sky shows clouds 
of rose color at the horizon, and the composition appears as a pastoral of 
genuine charm. 


Signed at the right. Dated, 1783. Height, 17 inches; length, 22 inches. 


tia. 45 oD IR 


DANIEL HUNTINGTON 


Princess Elizabeth 


An ideal picture of the unfortunate sister of Louis XVI., who fell an inno- 
cent victim to the Reign of Terror. The type is blond ; the head is inclined to 
the right, and the eyes are directed to an illuminated prayer book, or missal. 
The headdress with pearls, and scarf, are of blue. The bodice is made of 
gold and white embroidered stuff. About the neck is a string of pearls. A 
characteristic picture by the well-known American artist, who was for so long 
President of the National Academy of Design. 


Signed at the left. Dated,1879. Height, 23% inches ; width, 1914 inches. 


| 46 
se C: Page J. L. GEROME 


The Sentinel at the Sultan’s Tomb 


The white-robed figure of the sentinel with his black headdress, stands im- 
perturbably before the doorway. He holds his long gun in his hands, anda 
dog sits on the sill as nonchalant as the sentinel. The setting for this admir- 
able figure is formed by the great arched entrance to the Sultan’s tomb, with 
its curious, picturesque architectural features and inscriptions. The blue tints 
of the tiles and fretwork, and the pale green curtain hanging over the door 
are prominent notes in the color scheme. The sentinel is a marvel of careful, 
scholarly execution. From the George I. Seney Collection, 1885. 


Signed at the left. Height, 28 inches; width, 22 inches. 


47 
FMILE VAN MARCKE 


Rich Pasturage 


A group of four cows in the foreground with two others farther away. The 
pasture is framed in bya line of treesin the middle distance, and thereisa gray 
sky with threatening, dark clouds. The contrasts of color between the cows 
and the landscape are effective, and the handling is strong and broad. 


Signed at the right. Height, 27% inches; length, 35% inches. 
7 


AAS Os FS 


: wy. YO ge) BAN IST a8 ol 70. 


FRANCOIS MILLET (fils) 
View at Vichy 


A road running through the wheat fields, red-roofed cottages, and two labor- 
ers in the path, are the principal elements in this frankly painted and excellent 
landscape. It possesses the warm, mellow tone that characterizes some of the 
work of the great artist who was the painter’s father, but is personal in con- 
ception and treatment. 


Signed at the right. Dated, 1878. Height, 23 inches ; length, 28 inches. 


a : 
ee UG. ui ye hla 


o E. L. GARRIDO 


On the Terrace 


The scene depicts the terrace, or piazza, of a restaurant in the environs of 
Paris. It is inthe long summer twilight, and a river flows below at the right. 
A young woman sits at a table, her face in full view to the beholder, and is 
nibbling shrimps at the beginning of her dinner. At the table behind her a 
man betrays his interest in her by casting glances in her direction. Other 
diners, a waiter, and a profusion of still life are features of the composition. 
It is all very well painted, with broad, comprehensive brush work and good 
color. 


Signed at the left. Dated, 1886. Height, 32 inches ; width, 25 inches. 


Aan A AD arr ve 
y J. L. GUYOT JS 0: 


Shepherd and his Flock 


An excellent specimen of the painting of a tatented modern artist. The 
shepherd is of the every-day type, without pastoral accessories of costume, and 
leans on his staff, smoking his pipe, with his faithful dog at his side. The 
sheep, which are deftly painted and have the true look of live animals, browse 
about the shepherd on the level plain. 


Signed at the right. Dated, 1887. Height, 27 inches; width, 20 inches. 


| a ; | } | | 
PB Kasaclochh BE Ss rea iee 
I : W. H. BEARD 

Voices of the Night 


On the edge of a fountain basin sit frogs chanting a chorus, while facing 
them is a circle of cats and owls, with a company of dogs beyond. Certainly 
the ensemble of their voices must form a strange melody. Thisis one of the 
characteristic fantasies of a well-known American painter of animal life and 
humor. 


Signed at the left. Dated, 1880, Height, 20 inches; length, 30 inches. 


tL, 52 Fatt 
/ J. SCALBERT iy 


An Unwelcome Guest 


A French soldier and his sweetheart are enjoying a day in the country, and 
while seated on a stone bench in loving converse are suddenly interrupted by 
a cow, who has come up from the neighboring pastures and sticks her head 
through the bushes behind them. The soldier is seen with his hand on the 
cow’s muzzle pushing her head away, while the young woman exhibits her 
trepidation in a clinging position. ‘The story is well told and is full of humor. 


Signed at the right. Height, 31 inches; width, 22 inches, 


ie, allen 53 


H. De BUEL 
Leading out the Flock 


ALES Fo? 


A little girl who combines the functions of shepherdess and turkey herder is 
seen leading two sheep anda lamb through the fields, and accompanied by 
a flock of turkeys. A blue sky frames in this pretty pastoral, and the work is 
artistically executed. 


Signed at the left. Dated, 1876. Height, 23 inches ; length, 31 inches. 


7 


VS 


NA DOr ath 56 Oats 


s oe 
F. SCHLESINGER 
The Country Doctor 


The doctor, with a benignant expression, sits in his big chair before his desk 
while the mother stands before him with her little girl who has every appear- 
ance of suffering from a toothache and of dreading the doctor’s forceps which 
lie on the table. The father is seen timidly entering at the doorway in the 
background. The mother isa nice type of peasant woman, and the doctor is 
the personification of the country practitioner. The chief color notes are red, 
green, brown, and white. All the still life and details are cleverly painted. 


Signed at the left. Height, a2 inches ; length, 25% inches. 
Lhe ps3. 7 
Ne . ¥ arog -g 
F. VOLTZ 


Cattle, Meisenger Lake 


In the foregound are the cattle in the shallow water with great willow trees 
growing on the bank. To the right is a cottage half hidden inthe foliage. A 
herdsman, a girl, and goats are other features of the composition. A fine 
morceau is the calf with its mother in the foreground, and the treatment of 
the whole picture shows it to be from a very skilful hand. In execution, this 
cattle painting is not unlike the work of the great French master Brascassat. 


Signed at the right. Dated, 1878, Height, 15 inches; length, 36 inches. 


G. PALIZZI 
Driving out the Flock 


In the shade of the heavy-foliaged trees in the lane a young shepherd is 
letting out his sheep to go to the pastures. The landscape is realistically 
painted, and the sheep are natural and unidealized. The masses of light and 
shade are well managed, and the picture is excellent in general aspect. 


Signed at the left, Height, 22 inches; length, 35 inches. 


oe 6 Lb 57 Pod. oe 


J. DELAUNAY 


Battle Scene 


A charge of French cuirassiers riding in close formation. The brilliant 
colors of the uniforms, the flag, and the fine horses make up a handsome 
ensemble. Spiritedly conceived and dashingly painted. 


Signed at the left, Height, 24 inches; width, 20 inches. 


ee Ln.) 8 And 0. 


LOUIS BRUCK-LAJOS 


Investigating the Lunch Basket 


This little Italian peasant girl, with her pretty face turned toward the spec- 
tator, grasps an apple in her hand as she sits by the roadside with well- 
filled baskets on either side of her. Her large, dark eyes are full of intelligence 
and charm. The figure is painted with a masterly brush, and is a piece of 
painting of great excellence and individuality. 


Signed at the left, Height, 30 inches; width, 21 inches, 


ae 72h. 59 > 


A. F, BUNNER ’ 


The Molo, or Harbor of Venice 


Two large boats in the foreground, with sails and awnings of warm brown, 
yellow, and red, with sailors on board, occupy the central portion of the can- 
vas. Beyond, are the architecture of the city and the harbor light and pier. 
Effective in composition and excellent in color. 


Signed at the right. Height, 26 inches ; width, 20 inches. 


A ee 60 LK. a 


A. LUBEN 


Her Dus Barber 


Cottage interior, with the mother of the family seated on a bench and fac- 
ing the spectator, while she clips the locks of her little boy, who leans over, to 
aid the operation, with his face inher lap. The little sister, on the bench be- 
side her, looks on with evident interest. Technically, the work is full of excel- 
lence, and the story is told in a sympathetic way. 


Signed at the right. Height, 30 inches; width, 23 inches. 


6o.% 61 D4 oh Alerter ; 


G. H. McCORD 
A Studious Beauty 


Seated neara gigantic sunflower ina sunlit garden, a young lady is poring 
over some absorbing book. Her costume is of yellow, and there is a red shawl 
inher lap. Nearby is her little black dog. A broadly handled effect of sun- 
light with truthful study of foliage. 


Signed at the left. Height, 33inches ; width, 28 inches. 


Fo. ™ co HN. ly 
JEAN CHARLES MEISSONIER (fils) 
The Artist’s Leave-taking 


Truly a noble picture. Two men in medzival costume are seen at the porch: 
of a suburban dwelling. Both are painters, and one, who has just been 
making a visit to the other, is saying good-by. The host is in blue, witha 
skirted tunic; the guest, in a magnificent dress of black, gray, and yellow. 
The subject is attractive; the picture is most soundly painted, and the color is 
masterly in its scheme of soberly tempered rich tints. 


Signed at the left. Dated, 1880. Height, 25 inches; width, 19% inches 


YO. Q. 63 ~ & o- shiz 


-E, MUNIER 
Springtime 


A charming picture of a child with arms full of lilacs. It is not unlike the 
work of Bouguereau in general style. The color is very clear and fresh. 
Notable points of merit are, the drawing of the hands, the lovely color of the 
blonde hair, and the little girl’s sweet expression. 


Signed at the left upper corner. Dated, 1887. 
Height, 20 inches; width, 16 inches. 


Ah. Tosth ¢ Seve fy PA Qu 


C. C. VAN HAANEN My “ 
Tailor’s Workshop 
Three seamstresses are busy inthe front of the room, and the tailor sits % 


cross-legged on his bench behind them. The personages are well studied as 
to character, and the color, local to Venice, is bright and gay, but not loud. 
The picture is vigorously painted and striking in general aspect. 


Signed at the left. Dated, 1875. Height, 29 inches ; width, 21 inches. 


Meee ail. * 


? A. PEREZ 1d a, 0 


$f, 
At the Park Gate 


The scene shows two worthy bearers carrying a sedan chair, in which sits a 
fine lady, while a gentleman approaches to offer a bunch of flowers which he 
has just purchased from a pretty flower girl, who keeps her stand with pots 
and plants and blossoms by the wall of the park. It isa charming picture, 
interpreted with skill and artistic feeling. The costumes of the time of Louis 
XVI. form an attractive element in the ensemble. 


Signed at the right. Height, 28 inches; width, 23 inches, 


AAS ys. 66 A d Merron gin 
E, GRUTZNER 
A Flying Visit 


A stalwart Tyrolese hunter stops at the open window of a house where a 
pretty girl is seen inside, and seats himself on the bench in the porch for a few 
moments’ rest and a pleasant chat. His dog profits by the halt by the wayside 
to snatch a bit of much needed sleep. The local color is carefully given in the 
picture, and it is painted in the competent manner that characterizes the work 
of this popular German genre painter. 


Signed at the left. Dated, 1882. Height, 34 inches; width, 27 inches, 


ya. 67 Yh, Vt 


0: JOSEPH COOMANS 
Phidias in his Atelier 


The great Greek sculptor of classical antiquity is here represented in his 
studioat work ona statue. Through the open doorway leading out to a sunny 
courtyard, visitors are arriving, and in the foreground to the left are two 
beautiful women and a lovely girl idling in the studio. The subject is one s 
which pleases and fascinates, and the representation conforms to archzo- 
logical traditions. The three women, especially, make a beautiful and attrac- 
tive group. The picture is painted with this celebrated artist’s customary 
skill and attention to detail. 


Signed at the right. Height, 24 inches; length, 35 inches, 


8 fae 


oF ger JULIEN DUPRE 
The Harvesters’ Meal 


Two peasant girls, attractive in face and figure, with a boy standing in front 
of them drinking cider from a large flask, form a fine group inthe foreground. 
One of the young women is cutting an enormous loaf of Jain de ménage. The 
scene is laid in a Normandy hayfield, and the white clouds in the sky cast 
broad shadows over the meadows, with patches of light here and there to give 
variety and contrast to the landscape. 


2 


Signed at the left. Height, 32 inches ; width, 25, inches, 


A. Mm. Cary der A BA) hy airo 


KARL BECKER 
Italian Mother at Prayer 


A beautiful young Italian woman on her knees before a statue of the Ma- 
donna in a church, one arm around her little daughter in a caressing embrace. 
Both faces are lovely in expression, the lighting is well managed, and the 
color scheme, with its notes of green, red, white, and brown, and its setting of 
gray walls, is most pleasing and effective. 


Signed at the left. Dated, 1878. Height, 43 inches; width, 28 inches. 


oe es 70 JOS ig te 


HUGUES MERLE 
Interrupted 


The young man outside the casement, in a costume of black and red, has 
appeared suddenly, no doubt, and the young lady inogray silk in the window 
seat takes no further interest in her embroidery. Thisisa representative work 
by one of the most popular of modern French subject painters. Especially to 
be noted are the clever painting of the hands and the draperies. 


Signed at the left. Dated, 1880. Height, 52 inches ; width, 38 inches. 


ne. Gir elef fe g2s7 © 


VACSLAV VON BROZIK 
The Falconer’s Recital 


Here is a group of six ladies and a pretty page sitting in a richly furnished 
apartment. Some of them lean over the backs of their chairs as they listen to 
the tale of the falconer, whose face is animated with the vivid recollection of 
his story. He isdressed in red, and his brave bird perches on his left hand 
with wings erect. Two finely painted stag hounds stand at the falconer’s 
side. The chatelaine is costumed in white, and the dresses of the other per- 
sonages—blue, crimson, and yellow--form an elegant harmony of color. The 
epoch is in the Middle Ages, From the Mary J. Morgan Collection. 


Signed at the left. Height, 37 inches; length, 55 inches. 


‘ta? gi ee 72 Ce. U9, Mirhong @ 


bdo. 


OTTO PILTZ 


Lunchtime in the Kindergarten 


The schoolroom and another apartment seen beyond, through the open 
door, are crowded with children. Every attitude and expression of humor, 
contentment, interest, and pleasure is depicted in the faces and figures, and 
one little girl, in the middle of the composition, iscrying. ‘The patient, sedate- 
looking mistress is peeling an apple for an expectant good boy, who is near 
her. There are some sixty figures, and all are truthful studies of character. 
The picture is not only good in detail, but it is admirably “held together,” 
and the color and atmosphere are worthy of all praise. It is the work ofa 
strong, conscientious artist who thoroughly understands the difficulty of 
painting such a picture as this and shows that he knows how to master it. 


Signed at the left. Dated, 1878. Height, 3034 inches ; length, 52 inches. 


vii ie F. vA Cain 


J. F. RAFFAELLI 
La Place de l’Opera 


In this large canvas we see the naturalistic tendencies of M. Raffaélli in their 
first blush. The dominant color notes are gray and black. The great carre- 
four in the center of Paris is full of people and vehicles. The sky is gray, with 
the morning sun touching up the misty clouds with pink; and broad, atmos- 
pheric shadows are cast by the buildings. Allof the architectural features are 
carefully wrought, and the picture gives a full front view of the beautiful 
opera house, with the well-known Café de la Paix on the left. The figures are 
depicted with a fine sense of individual character. 


Signed at the left. Dated, 1878. Height, 263 inches; length, 59 inches. 


74 Ce 
CHARLES P. GRUPPE 


Beach of Scheveningen 


A large canvas depicting a Dutch shore view, painted in dark grays and 


other somber tints, There are boats on the shore, and people unloading them. 
The wind is blowing briskly. 


Signed at the right. Height, 42 inches; length, 58 inches. 


f 


Rae ee ent ee 
ae > i oe Rt ns 


a 


Seni 
ra’ rae" ite. 


rans: 
arr mar 


Ln A. Falduters 2 Fa, 


SETH C. JONES 
Flock of the Mission 


This is a scene in some foreign country. The old mission buildings appear 
on the left, and the sheep are scattered about on the neighboring slopes. A 
monk is watching over them, and the impression given is one of peace and 
quiet. 


Signed at the right. Dated, 1872. Height, 28 inches; length, 41 inches. 


H. THOMPSON 
Landscape and Cattle 


In the right foreground are two calves and a little girl, A cow and an- 
other calf are seen on the left. They are framed in by old apple trees with 
twisted trunks, and the landscape appearsin the distance through the branches. 


ag / oP OTE @ a ALE T Of 


Signed at the left. Height, 314% inches; length, 45 inches. 


: 4b, Yutol F, Dan es Mtg 210 


Coast at Badalone, Spain 


Here are three fisherwomen on the beach, all young and pretty. Oneof the 
group is reading a letter to another, who, presumably, is not able to read her- 
self. The types are characteristic of the locality. Theeffect isin sunlight ; the 
color is agreeable, and the picture is briskly painted. 


Signed at the left. Height, 36 inches; width, 28 inches. 


8 
Bt pedle<: ¥ Ge. a Lb ne 


OLOF PETERSEN ‘ 
Scenery in Norway 


Here we see a fjord coming into the land between high, craggy, snow- 
crowned rocks. The water iscalm, and under the lee of the cliffs are a steamer, 
boats, and red houses. The local color is well preserved, and the painting is 
direct and competent. 


Signed at the left. Height, 35 inches ; length, 52 inches. 


THEODORE RABE 
The Duet 


A young woman in a pink satin skirt and black velvet decolleté bodice sits in 
a marble garden chair. By her side a young man in crimson doublet plays on 
amandolin. The foliage of the trees in the garden arches over their heads. 
A characteristic subject picture of the German School. 


Signed at the left. Dated, 1878. Height, 44 inches; width, 33 inches. 
‘ 80 Gas Jw? ovis: ate 
pres ay S 
an CHARLES LOUIS MULLER 


Le Rond de Mai 


The scene shows a féte champétre with a multitude of figures. The groups 
are skilfully composed, and the painting shows all the marks of Muller’s best 
style. The flute player in the center, painted in half light, about whom the 
dancers circle, is a fine characteristic sorceau. 


Signed at the left, Height, 30 inches; length, 41 inches. 


ore sh Br ®. freee ) 
f AUGUST FINK Pine 


Autumn Landscape 


Full of air and true to nature is this picture, with its view at the edge of a 
forest ; its gray scheme of color and its foreground of herbages and bushes 
carefully painted. 


Signed at the right, Height, 32 inches; length, 48 inches. 


A 

: iS! 82 Va A. Kotte 

ih io EDMUND BLUME Ff 
Grandma’s Story 


The venerable dame has stopped her spinning to tell a tale to her pretty 
granddaughter. Nearby are two children. The color scheme is dignified and 
quiet, and is made more effective by notes of red. Sound painting marks this 
portrayal of Austrian home life. 


Signed at the right. Dated, 1875. Height, 41 inches; width, 33 inches. 


Ta 
res 
\ 


E. ANDERS 
Mother’s Love 


A rich German interior, with the mother by the casement, blonde and pretty, 
dressed in black, with white lace collar and cuffs. Her baby is in its cradle 
beside her. 


Signed at the upper left. Dated, 188r. 
Height, 38 inches; width, 23 inches. 


| ae biel Bp ae 


HENRY MOSLER 
A Stroll in the Park 


A lady in a fine gown of white satin, and a cavalier clad in black with an 
azure lining to his cloak, are walking arm in arm on a path through a park. 
This isan unusual example of the work of a celebrated American artist who 
has a picture in the Luxembourg Gallery, Paris, and is known as an accom- 
plished painter. 


Signed at the left. Height, 36 inches ; width, 27 inches. 


ALEXAN DRE DEFAUX 
Landscape 


A French iandscape, with a group of apple trees in blossom on the left of 
the canvas. On the other side is a pond with ducks swimming and diving, 
while cocks and hens are seen in the foreground. Beyond, are pastures and 
clumps of trees. The sky is filled with gray clouds. This picture, by a master 
of his art, is very skilfully and soundly painted, and is an important example. 


Signed at the left. Height, 26 inches ; width, 36 inches. 


er aus oll. « Gs, 83 APS 7 


OO ellen. 85 VA ie 


c. 
BB ots s.: a ee Se 


SE ie Se, 


x 
ao 


JF PO. 86 (ee 


LOUIS BRUCK-LAJOS 
The Unwilling Schoolboy 


The picture shows the home of a family of the better class of peasantry of 
Italy, or Savoy, and contains nine figures. The little girls on the right evi- 
dently are not averse to the day’s work, but the little boy, who is the central 
figure, demurs strongly. It is painted in the best style of this excellent and 
popular artist. 


Signed at the left. Height, 31 inches; length, 38% inches. 


ROSA BONHEUR 
The Choice of the Flock 


A masterpiece of the famous artist, and, consequently, admirably painted in 
every respect. A white ewe, the fleeciest and fairest of the flock, stands in a 
field with a wide stretch of rich, rolling country beyond. Near her is another 
sheep, while to the right are several others. The landscape is suave, but 
virile in treatment, and the painting of detail in the foreground is especially 
notable. A very important example. From the George I. Seney Collection, 


BOCES ary TP 7 en Horimann My 


1891. 
Signed at the right. Height, 3: inches ; length, 38% inches. 
88 Gf AS athe 
Gold wf? 
' LOUIS LELOIR 


The Temptation of Saint Anthony 


A well-known masterpiece. Two beautiful temptresses have laid hold of 
the saint, who clings to the rude cross, stuck ina cleft in the rock in his her- 
mit’s cave, which is breaking in his grasp. The three figures form a group of 
great beauty, and the painting throughout is of the highest order. This 
picture is celebrated for the excellence of the drawing, its strength of color, 
and the directness and vigor of the execution in general. From the Dousman 
Collection. 


Signed at the right. Dated, 1869. 
Height, 27% inches; length, 38% inches. 


eA ll se 


A. A. LESREL 
La Chanson a 


The composition presents a fine interior, with five figures with costumes of 
the time of Louis XIII. A lady sits in a chair playing a mandolin, while ! i 
two men—one with a violin, the other with a ’cello—join in the harmony. it 
Before them stands a youth, in an elegant light-colored embroidered costume, 
who is about to sing. In the shadow a cavalier ina red cloak stands in the 

' doorway, which opens upon a terrace. This is a work of decided merit, and 
one of the most important of Lesrel’s pictures. It is beautifully painted, and 
is most attractive in general aspect. 


Signed at the right. Dated, 1881, Height, 35 inches; width, 28 inches, 


Decl + Lun, ch Ho Bb 7? 


OTTO ERDMANN 
Secret Homage 


This is a representative genre work of the Diisseldorf School. Two ladies 
are about to ascend the staircase in a sumptuous hall with marble sculpture. 
One has dropped a rose, which a court gallant stoops to pick up. 


Signed at the left. Dated, 1880, Height, 35 inches; width, 2712 inches. 


SA PO a < 


eee : 
Lo. L. E. JARDON ert ie 
A Swedish Family 


A young peasant girl and three children. The types are of the extreme 
blonde order belonging to the North, and the figures are frankly painted. The 
picture is excellent in local color, 


Signed at the left. Height, 35 inches ; width, 31 inches. 


f [ 2 bis 

| oh Me ere. . 9 ~ by 
“~ EDWARD GAY Fb oh) AO 

The Old Estate 


A view looking over fields and pastures, with a group of ancient trees toward 
the sea. Some sheep are grazing about the abandoned garden, and the rem- 


EE 


nants of a white paling fence and a stone wall appear in the middle distance. 
There is a fine sky of gray and white clouds. This work, by a well-known 
American painter of landscape, has all the elements of truth and sincerity. 


Signed at the left, Dated, 1880. Height, 45 inches; length, 55 inches, 


ed ee 3 HA Ins Jrabonr, 


A. LUBEN 


Under the Hammer 


An old naturalist has died and been buried, and his little stock of specimens 
and books is being sold at auction. The figures and still-life are admirably 
painted, and the picture is a fine example of the best German genre painting 
of the Munich School. There are over twenty figures in the composition, and 
each face is a carefully executed study of character. The fact that withsuch 
a profusion of detail, the ensemble is one of unity of tone and color, deserves 
special mention. 


Signed at the right. Height, 46% inches; length, 68 inches, 
ig Aes o4 Ferelul haley 


F. $. LACHENWITZ ¥ Sebrvacts 


Elk Pursued by Wolves 


A big elk in the deep snow is near succumbing to the attacks of four gaunt 
and ferocious wolves. One of them has just received a body blow from the 
elk’s antlers, and falls in pain to the ground, while another, clinging on the 
elk’s back, bids fair to reach his throat with his sharp fangs The two other 
wolves are in hot pursuit. The incident is very stirringly presented, and the 
picture isa good example of strong animal painting. From the A. T. Stewart 
Collection. 


Signed and dated 1850. Height, 47 inches; length, 67 inches. 


DAY are ain 95 AS4. 9G. bolre 


R. NECHUTREY 
The Hussites Before Naumburg, 1432 


Procopius, the General of the Hussite army, is here represented giving atten- 
tion to the mute appeal of the children of the fortress of Naumburg, before 
which his forces camped during the long war which followed the burning of 


John Huss, the Bohemian reformer, on the 6th of July, 1415. The victorious 
General had threatened to give everything in the fortress to fireand the sword. 
A deputation of children was sent with the ‘ey of the place, and a plea to 
spare the lives of the inhabitants. This incident is the subject of the picture. 
Night is settling down upon the city. The glimmering of the camp-fires is 
seen in the distance. The little children are in the foreground, presenting the ae 
key on a yellow cushion to Procopius, who, clad in his armor, is surrounded by Wei 

‘ his stern body-guard. The two groups are effectively contrasted, and the PG 
treatment is dramatic and forceful. 


. Signed at the right. Height, 49 inches; length, 6714 inches, 


ia Anerre 96 LA, 
| E. J. DAMBOURGEZ 
Oyster Woman in the Kitchen 


This fine, life-sized figure of a blonde Normandy woman opening oysters is 
painted with much distinction of color and handling. The blacks in her bodice 
and shoulder cape, and the still-life, are worthy of special mention. Inthe 
background is another woman busy at her cooking range. The whole picture 
has an air of individuality, and is the work of a painter of fine talent. Ex- 
hibited at the Salon of 1885. 


Signed at the right. Dated, 1885. Height, 62 inches; width, 50 inches. ; | 


i oy aa i i : 
(a4 pA | 

| Ae att hs ae 97 Pas ee as 
w K. F. SOHN 


Diana and her Nymphs 


The majestic figure of Diana appears as the central feature of this fine com- 
position, holding up her white drapery, and surrounded by four beautiful 
nymphs, who crouch about her in the fear of intrusion. The goddess stretches 
out her right arm witha forbidding gesture, as if to warn off the indiscreet 
hunter Actzon. Her head is turned in the same direction, and her eye is 
lighted up with the fire of indignation. The grouping of these nude figures; 
the classical style of the drawing and modeling, and the picturesque mdse en ‘ 
scéne, make of this work one of the most important compositions produced by 
the painters of the modern German School. From the A. T. Stewart Collec- 
tion, 1887. 


Signed at the left. Dated, 1852. Height, 90 inches ; width, 74 inches. 
8 


zie 


veo ae 98 Hh oh 


J. F. BALLAVOINE 


A Dream 


This beautiful full-length nude female figure is shown as emerging from the 
horn of Morpheus, typical of sleep. It isan ethereal conception, and the young 
girl is of an innocent but voluptuous type. A girdle of pale yellow drapery 
floats about her figure, and the broken chains of slumber drop from her wrists. 
The figure is surrounded by a decorative border, painted on the canvas, of 
beautiful and symbolic design. The whole is executed with a fine conception 
of creative beauty, and shows a delicate scheme of color. This important 
work was painted to order for a Russian prince. 


Signed at the right. Dated, 1875. Height, 104 inches ; width, 68% inches, 


SECOND NIGHT’S SALE 


Thursday, January roth, at 8 o’clock | 1 t 


AT CHICKERING HALL 


* 


Ve Metal ‘ 


DAVID COL 
A Regular Customer 


il 0, 9? 


An excellent example of the famous Dutch artist. A good-natured old 
gentleman, seated at a table in the hall of an inn, has come across an amusing 
story in his newspaper, and hastens to repeat it to the hostess, who, clad in 
red, with a gray apron, stops to listen. Truth to nature characterizes this fine 
little bit of anecdotal painting. 


Signed atthe right. Dated, 1884. Height, rz inches ; width, 9 inches. 


¢ M. SCHOLZ 
Monk 


: Bs Cages Wi fou 


This is a monk who works for his living,as may be seen from the blue apron 
covering his chest. It isa natural study of human nature. 


Signed at the right. Height, 12% inches; width, 9% inches. 


OI I EE EE Ee 


(7? a peaks IOI eee oo 


ve 
v 


q 
44 


LOUIS APOL 
River Scene 


A symphony in grays. A church and houses appear on a point of land 
which juts out into the stream. The sky and water are delicate in tone. 


Signed at the left. Height, rz inches; length, 15% inches. 
SALAMI 102 i 
Ce Anrrr Ha Oty ~ 
4 G. HYON Ta 
7 


A French Cuirassier 


The figure of the horseman in this excellent cabinet picture is directly and 
effectively painted somewhat in the masterly style of Géricault. The cavalry- 
man in his steel armor, and the chestnut horse, are relieved with striking effect 
against a background of gray sky and dull green plain. 


Signed at the right. Height, 12% inches; width, 9% inches. 
Us VAn1 411 Bs ot oO , 


iy, 
is 


A. TAMBURINI 
A Good Hand 


A monk in brown laughing so that you can almost hear him. Heis holding 
back his cards, and has just played one which makes it difficult for his oppo- 
nent to beat him. An excellent example of Tamburini’s cabinet studies. 


Signed at the upper right, Height, 1114 inches; width, 10 inches. 
A 


. Hatin att AG 4. °° 
BURR H. NICHOLLS 


A Street Scene in Brittany 


Near the window of a cottage in Finisterre sits an old woman with her 
knitting. The sunlight falling upon her is welcome, and the cocks and hens 
about her are also enjoying it. A good example of genre painting by a well- 
known American artist. 


Signed at the left. | Height, 19% inches ; width, 15 inches, 


$, De Lakh ne 105 obo. 
MAX GAISSER 
The Village Politicians 


The town oracle in a Tyrolese inn is propounding a difficult question to his 
two hearers, who are smoking their pipes and drinking their beer in per- ie 
plexed reflection. The treatment of the subject shows excellent study of char- } 
acter and breadth of handling. 


Signed at the right, Height, 15% inches; length, 18% inches. 


cles nr _ ve ce Oe 
GOMEZ PLASERT 
Scene in Venice 


In this pretty composition there isa marble terrace in Venice, and a park 
by the water side. Gondolas ply on the water, and in the distance appear the 
sea and other boats. The picture is deftly painted with attractive color. 


Signed at the right, Height, 15 inches; length, 21 inches. 
: " * t, . U AAA 107 wr Bs ot) 
| L. E. JARDON / 


The Little Swede 


A blonde little peasant girl, with rosy cheeks and blue eyes, is standing 
against anold gate. Her expression is intent, and full of childish seriousness 
and innocence. 


Signed at the left. Height, 21 inches ; width, 15 inches. 

| 108 

a A ; OP J Ms Waves 

) I, FALAT | 

Portrait : 
CWater Color) 


Head of an old man with gray hair and beard. Reflective expression. 
Broad, clean water-color work. 


Signed at the right. Dated, 1880. Height, 17 inches; width, 13 inches. 


: co p 
Bare. 109 ables - ef 
CHARLES F, CERAMANO 

Sheep 


The flock is in the stable, and the light falls from above upon their fleecy 
backs. Chickens are seen scratching inthe straw. The effect is strong, and 
S the execution hardy. 


Signed at the right. Dated, 1875. Height, 13}¢ inches; length, 25 inches. 


LENS II0 Fh Gibb 


PAUL SEIGNAC 


Resting 


Two peasant girls, one sitting on a stone block at the corner of a wall, the 
other on the ground, with a background of a village street. A typical rural 
picture. ; 


Signed at the left. Height, 174 inches; width, 14 inches, 


J 4d. oy IIt Re Lith 


E. L. GARRIDO 


Streets of Paris 


View from the quays on the Latin quarter side of the Seine, with the Tuile- 
ries seen on the other sideof the river. Inthe foreground are a newsvender’s 
kiosk and various figures. The people are typical, and the color is artistic. 


Signed at the right. Height, 14% inches; length, 17% inches. 


LoS. 2 na CC, Otte’ 5 te 
T. E. DUVERGER 
Preparing for Market 


ee fen a Nee ae ee Go eee 


A girl is sitting on a wheelbarrow plucking a fowl, while a child interestedly 
looks on. The scene is a peasant’s humble dwelling, and there are big pump- 
kins on the earthen floor. This isa superior example of French painting of 
country interiors, and is executed with perfect knowledge and breadth. 


Signed at the left. Height, 17% inches; width, 14% inches. 


W. MERRITT POST 


Whence all the Blooming Flush of Life 
Has Fled 


A November landscape with a gray sky. Thedead plants and grasses ex- 
plain the title. There is a pool in the foreground, and the trees in the middle 
distance are bare of leaves. A faithful portrayal of American scenery. 


Signed at the left. Height, 13 inches; length, 21 inches. 


AUGUSTE HAGBORG 
Waiting for the Boat 


The fisherman’s wife, with her child in her arms, waits on the beach for the 
return of the boatin which her husband earns their living on the briny deep. 
The good woman is healthy and fresh looking in her white cap, her blue 
socks and sabots, and the group makes a fine silhouette against the steely 
colors of the sea and sky. 


Signed atthe left. Dated, 1881. Height, 17% inches; width, 13 inches. 


Ass and Colt 


The amazing detail painting shown in this picture should be closely exam- 
ined. Almost every hair of the animals’ coats is separately painted, and the 
same holds true of the straw on the floor of the stable. The canvas also, 
when seen at a distance, presents a good general aspect. 


Signed at the right. Dated, 1882, Height, 18 inches; length, 25 inches. 


A. PIOTROWSKI 


The Wood-chopper’s Story 


Four Russian soldiers, passing along a road through the forest, have stopped 
to ask for some information from the woodman, whose hut is seen in the back- 


Me. Hanulte. Ag ala ak ag ail 


Re I. Levidaacy II4 F 73% x 


115 
Q. a BENNO ADAM OS poo 


VA Teepe si pie ts TNL. ae 


A 
i 


ground, and whose family are grouped about the principal figures. It isa 
characteristic picture of the far-away Russian country life, painted with 
knowledge, and interesting for its evidently veracious rendering. 


Signed at the left. Height, 20 inches; length, 28 inches. 


“ oo 
AS. | 117 exe oe 
AUGUSTE bat 


A Sweet Reverie 


A lady in a gown of blue with a white bodice stands by a gilt etagére and 
is smelling a rose, while she seems to be thinking of the picture, showing a 
sylvan group of a young man and a maiden in intimate converse, which hangs 
on the tapestried wallat the left. This isan example of the celebrated genre 
painter’s work in his best period. 


Signed at the left, Dated, 1879. Height, 24 inches; width, 15 inches. 


118 3. I. Lothar 


W. MENZLER 


/ es 
red Pad) 


Character Study 


This ideal portrait shows a pretty girl, with a large flat red hat with a white 
plume, on her head, looking over her shoulder at the spectator. The face is 
attractive,and the costume picturesque. A clever portrayal of a prepossessing 
subject. 


Signed at the upper right. Dated, 1878. 
Height, 26 inches; width, 1814 inches. 


rd ee OV ® 
SOS: II9 row Dior An, 
A. GIROUX 


Waiting for the Train 


Scene at a French railway station in the country. The white smoke at the 
left shows where the train is rounding the curve. A stylish cob and cart, 
driven by a lady, with another holding the horse by the bridle, and a 
third lady in blue amazon on horseback, form a fashionable group of chateau’ 
people. A striking picture of French country life painted by a clever artist. 


Signed at the right. Dated, 1886. Height, 24 inches; length, 36 inches, 


wr © Fg 


%. AD. Sogrol #0 3 : Sere a 


R. DE MADRAZO 


La Belle Désoeuvrée 


This beauty, with nothing to occupy her, is sitting in some public resort in | 
carnival time, with a glass on the table beside her. Her costume is the garb 
of Pierrette, with a blue cloak trimmed with white fur. The girl is of a charm- 
ing type, and the painting of the picture is of that extremely clever, dashing 
sort, yet combined with the most serious technical qualities, which is found in 
Madrazo’s most successful works. 


Signed at the upper right, Height, 3514 inches; width, 25% inches. 


ot) 7. 121 
7n. 5, Phra Pg 20, FO 
FELIX ZIEM 
View in Venice 


The effect is in moonlight, and the picture is painted in a light key. Inthe 
foreground a gondola makes a valuable note of dark color, as the view 
shows the towers and domes of the Queen of the Adriatic. 


Signed at the right. Height, 24 inches ; length, 32 inches. 
thu F. AVz Dig Lp 
ee Fs PO 2: 
es ge BOGGS | 


View of Dordrecht 


The town is seen froma foreground of water, with boats moored to the 4 
quays. Along the bank isa row of trees, beyond which appear the houses, z 
and, in the center, the picturesque mass of the cathedral. The sky is lumi- 
nous and atmospheric. This is, in every way, a representative example of 
the work of an American artist who has won honors abroad and at home. 


Signed at the left. Height, 17% inches; length, 25 inches. 


C. M. DEWEY 


Brown and Sere 


A warm, rich autumn landscape, with an evening effect of fading light at 
sunset. A yellow streak at the horizon. shows the last of the departing sun. 
-A group of trees, with dried foliage, occupies the center of this effective com- 


position. 
Signed at the left. Height, 16 inches ; length, 24 inches. 
He if AY | 
] 5 a D vo 4 . anf Ab rrr, 
£ 


J. G. BROWN 
Dead Broke 


A street gamin, with a green cap anda red handkerchief about his neck, 
pulling his pockets inside out, and looking out of the canvas with a puzzled 
expression. 


Signed at the left. Dated, 1883. Height, 23 inches; width, 15% inches. 


i. aa 


125 
el oe 
‘: LUIS ALVAREZ 


Hide and Seek 


The composition shows a rich salon, or hall, with two ladies and a cavalier 
in hiding behind the portiéres, while in the next apartment are seen the other 
players, and the man who is “It” searching blindly about the room. 


Signed at theright. Dated, 1873. 
Height, 14% inches; length, 22 inches, 


LENS fo beleali ee ey, 
: J. G. FERRY | 


A Literary Reunion under the First Empire 


Over a dozen figures, men and women, old and young, grouped about a long 
table covered with a green cloth. A young man is reading a paper, or poem, 


to this attentive audience gathered in afine library. The types of savantsand 
blue-stockings are full of character; the general treatment is sober, and car- 
ried out with a great deal of charm. This picture is of value not only for its 
artistic excellence, but also because it is a truthful document portraying a 
scene of life and manners in a brilliant epoch of the past. 


Signed at the left, Height, 14 inches; length, 24 inches. ‘ 

« c 

er of ti brteon 127 GE a. ; 
G. SIMONI | 


Waiting for the Bey 


A negro attendant in Oriental costume waits by the garden wall with two 
horses in his charge. Plants, flowers, and foliage in full sunlight make a 
bright setting for the group. 


Signed at the middle left. Dated, 1882. 
Height, 14 inches; length, 21 inches. 


L JuwAly 128 Nay a 


C/E. ATALAYA 
An Outing 


A party of city folk in the country, seated by the river’s brink, with camp- 
chairs and wraps. The landscape is gay and bright under a summer sky of 
white and blue. The figures are deftly painted, somewhat after the manner 
of Boldini. The costumes are modern. The general aspect of this picture is 
pleasing and attractive, 


Signed at the left. Height, 15 inches; length, 21% inches, 


Me Verh tee Pe le 


E. GRUTZNER 
Contentment and Happiness 


A fat German monk, with a blue apron over his robe, is here seen content- 
edly sitting in his big leather chair, his cigar in his mouth and his mug of 
beer on the table. His hands are folded, and he rests after his labors. The 
face is carefully studied, and the browns and blues form a pleasant color 
harmony. 


Signed at the upper right, Dated, 189r. 
Height, 16% inches ; width, 13% inches. 


Y to. 130 WA ; Yuta 
J. G. VIBERT 
The Disclosure 


This is a fine example of the work of the famous painter of cardinals, 
priests, and monks. Here wesee a cardinal and a priest in a secluded walk 
in a garden, the priest evidently revealing to his superior some important 
secret, or perhaps the existence of an ecclesiastical plot. The story is very 
clearly told, and the contrast between the red and black robes is made very 
effective. The two figures form a group of much interest, and the technical 
qualities of the work are of the best. 


Signed at the right. Height, 16 inches; width, 13 inches. 


6s” 131 A. J ebutthire 


H. OCHMIDIEN 


Music, not Mathematics 


The boy, who is kept in after school, is more intent on whistling a tune than on 
learning his lesson. He isa barefooted youngster in a red waistcoat, and his 
book lies unopened on the floor. The interior is well painted, and the boy is an 
interesting looking little chap in spite of his idleness. 


Signed at the left. Height, 16 inches; width, r2 inches, 


TS 0 «PP if Garten Oaterre 


ANTON SEITZ 
The King of the Riflemen 


Here are many jolly people in an old farmhouse. A doughty old crack 
shot has carried off the prize at the target shooting, and his friends and 
some village musicians are celebrating the event. A truthful presentation of 
an episode of German country life. 


Signed at the middle left. Dated, 1874. 
Height, r2 inches; width, 19 inches. 


[ae APNE Tee WHE es 3 ey z ae | 


‘ARLE AER 
- j J 


Pe Gee Z 
; UAL 4a 133 PS? oO, FP 
ERSKINE NICOL 
Patience is a Virtue 


The color is very true and of mostagreeable quality. Especially fine is the 
effect of light in the room at the backof the picture, where, at the head of a 
_ flight of stairs covered with a rich red carpet, the squire sits at his ease, and 
peruses the letter, or petition, that has just been presented by one of his tenants. 
This worthy man standsin the hall resigned to await the outcome of his mis- 
sion. The types are Irish; thestory is well told, and the execution of the pict- 
ure is worthy of the high reputation of its painter. From the George I. 
Seney Collection, 1891. 


Signed at the left, Dated, 1860. Height, 24 inches; width, 18 inches. 


Me ee 134 Pie OP 
| HORATIO WALKER 
Striking a Bargain. 

(Water Color) 


The scene shows a Dutch farmer, in blouse and wooden shoes, talking with 
expressive gestures to an old wife, who holds her cow by the horn, and seems 
to reflect on the value of the farmer’s words. The thatched roof of the shed 
in the background and the chickens pecking among the straw form an appro- 
priate setting for this rustic picture of every-day life. The artist, well known 
for his skill in the manipulation of the water-color medium, has treated this 
subject with breadth and simplicity. 


Signed at the right, Height, 20 inches; length, 24 inches. 


| ae 

| Narn ig (tite 135 

EMMA E. LAMPERT 
Mother Claudius 


An interior in Picardy, with an immense chimney-piece in the background. 
Before the smouldering embers sits Mother Claudius, who was a good old dame 
of the region where the artist painted the picture, and took great delight in 
the thought that her portrait was to be carried across the ocean. The color 
scheme is attractive. 


ota?” a 
Las, fo 


Signed at the right. Dated, 1889. 
Height, 211% inches; length, 29% inches. 


es a AOU 136 G hive 
ae M. GARCIA 
The Moorish Doctor 


(Water Color) 


The doctor, in a wine-colored cloak, isseated near a fountain basin in which 
are flowering plants, and his negro servant in scarlet stands before him. This 
water color is a typical example in subject and execution of the clever Span- 
ish School. 


Signed at the upper right. Dated, 1882. 
Height, 29 inches ; width, 2134 inches. 


are Av (ik 1) ane [SS OP 


Landscape 


Rocks and pools of water compose the foreground, and clumps of trees ap- 
pear in the middle distance. The sky consists of broken white clouds. It is 
good in color, and showsstrong, broad painting. 


Signed at the left. Height, 27 inches ; length, 39 inches. 


CTO 138 ME Pes. 


PETER KRAEMER 
The Monk Musician 


A half-length figure of a monk playing ona brass horn, with his music rack 
and notes before him. The head is luminous and well studied, while the still- 
life is executed with remarkable reality. <A finished, competent piece of work 
of much character. 


Signed at the left. Dated, 1888. 
Height, 30% inches ; width, 2514 inches. 


QVitnn Cdrboece ui a uae 
CHARLES HORACE VERNET 
Training Horses 


At the door of a stable, two horses are harnessed together with training 
ropes, and tied to the stone wall. A third, a fine sorrel, who is loose, is biting 


one of them. This isa most effective work; the horses being painted with 
great skill and knowledge; and the color is fine and distinguished. Two 
hostlers are looking on from the doorway, and the composition, as a whole, 
may justly be said to rank with the representative works of the great French 
master. 


Signed at the left. Height, 24 inches; length, 34 inches. 


| i, ‘(cccguapeaaeay ase I40 Mog Va § a oo 
THORS 
English Landscape 


A river, bordered with trees; a sky of misty white and blue. Agreeable 
color and a good rendering of atmosphere. 


Signed at the left. Height, 24 inches ; length, 36 inches. 


EX aan ee fras F157 


PIETER DE HOOGHE 
A Dutch Market-place in the Evening 


The market-place is full of figures, with lanterns to light up the booths, and 
the moon in the sky is seen shining through the tower of the church. A cav- 
alier and a lady are passing on the right, and a guard bearing a torch, or 
lantern, lights their way. This canvas is in an excellent state of preservation, 
and is fine and rich in its color scheme, mellowed with the lapse of time. 


Signed at the left. Height, 25 inches; length, 35 inches. 
p 
o ; ft /3 aebee 142 ve 4 POS, 
JIMENEZ-Y-ARANDA 


A Spanish Pharmacy 


This chemist’s shop, in the time of Louis XVI., contains eight figures. Five 
are customers or idlers; one of them a priest who is taking his part in the 
gossip of the day. The pharmacist and his assistant are seen at the left, com- 
pounding a prescription with anxious faces. The picture is very interesting 
asa study of life and manners; the many colors in the costumes and the acces- 
sories make up a good color ensemble. From the George I. Seney Collec- 
tion, 1885. 


Signed at the right. Dated, 1882. Height, 21% inches; length, 35 inches, 


WIS. site 143 an Saad 


ein CHETWIOSKI | 
Lunch in Camp 


Travelers are taking tea at the booths by the roadside, and there are smok- 
ing samovars on the tables. Allare men. A magnate, or government func- 
tionary, is seen near one of the tables, and his big horse and drosky are waiting 
for him in the foreground. An interesting scene, with truthful rendering of 
local color. 


Signed at the left. Dated, 1883. Height, 22 inches; length, 36 inches. 


M4 igs leueiy 144 y, : Bide Poche 
EMMA E. LAMPERT 
At High Noon, Cape Ann 


A New England landscape with a bright, clear sky and drifting clouds. In 
the foreground, green meadows with great rocks sticking out of the sod. In 
the distance are hills, farmhouses, and barns. Sunlight effect, with agree- 
able and veracious color. 


Signed at the right. Height, 22 inches; length, 30 inches. 


x 4D ve : f 
mes oO I45 le, < RY 
PETER KRAEMER 
Monk Taking Snuff 


A very strongly painted life-size figure in half-length. Effective and 
realistic. 


Signed at the left. Height, 29 inches ; width, 2334 inches. 


a 3 50 4 nit 146 af Ae ere uy 
LUDWIG KNAUS inte 


The Butcher Boy 


This boy is of the type the great German master of genre was fond of 
painting. He is sturdily planted on his feet while he whets his knife, and his — 
smiling face and roguish expression show his consciousness of being the right 
boy in the right place, The figure is well and characteristically painted, and 


Pe hi. 148 AF 0-0. * 


the execution of the accessories should also be noted. The ‘‘ pluck,” hanging 
from a hook in the wall of the shop, in the right upper corner of the canvas, 
may serve as an example of exceedingly clever still-life painting, and yet in 
this composition it is entirely unobtrusive. 


Signed at the left. Dated, 1879. Height, 25 inches; width, 19% inches. 


Je 147 Zoo, 7? 


J. J. HENNER 
Madeleine 


This is a brilliantly painted recumbent, semi-nude figure of a young girl, 
with blonde hair, and lustrous dark eyes. Her head rests on her hand, as she 
looks up from the book spread out on the ground before her. The lights and 
shadows on the fair body, with its drapery of blue, are handled in M. Henner’s 
characteristic manner, while the background is merely suggestively treated. 


Signed at the left. Height, z9 inches; length, 24% inches. 


N. V. DIAZ 
Landscape with Figures 


A charming group of three young women, partly draped, and accompanied 
by three little A sours, are seen sitting ina forest glade. The stuffs are of 
pink and crimson, blue and white, and the flesh tints show some very delicate 
and subtle color. The faces of the young women are pretty, and the group is 
charmingly composed. 


Signed at the left. Dated, 1865. Height, 14 inches; length, 194 inches. 


o ® 
ect xt 149 SOOO. 


CONSTANT TROYON 
The Shepherd 


A fine, richly toned panel, abounding in warmth and color. The shepherd 
marshaling his flock, with his cloak on his shoulder, his clay pipe in hand, 
and his staff under his arm, isa delightful rural characterization. His dog is 
beside him on the right, and in the background the path leads out through 
the edge of the forest. From the George I. Seney Collection, 1891. 


Signed at the left. Height, 22 inches; width, 18 inches, 
9 


4 LEON VICTOR DUPRE 


Landscape 


While the influence of the artist’s famous brother, Jules Dupré, may be 
manifest in this picture, it also possesses individual qualities. The color is 
rich and deep, and the elements of the composition are a pool with cows in 
the foreground, great trees on the right and left, and a sky of gray and white 
clouds with a patch of blue. 


Signed at the left, Height, 17% inches; length, 28% inches. 


aac pins BY oe IST ae a. VAraee 


EUGENE J. VERBOECKHOVEN 
The Sheep Cote 


This picture was painted before Verboeckhoven’s great vogue caused him 
to hurry his work and slip into carelessness. It is full of detail, and painted 
in his ablest style. 


Signed at the right. Dated, 1840. 
Height, 20 inches; length, 26% inches. 


eA Ay ee 
LEON HAYON 
The Old Cardinal 


} This scene is placed in the Renaissance Sculpture Gallery of the Louvre. 

The famous statue of Diane de Poitiers as ‘‘ Diane Chasseresse”’ occupies a 
prominent place in the composition. An aged cardinal, on the arm of a young 
monk, with two priests walking behind them, is making a tour of the room. 
The cool tints of the marbles, pavement, chimney, and walls contrast effec- 
tively with the red of the cardinal’s robes. 


Signed at the left. Dated, 1875. Height, 22 inches; width, 17 inches. 


eo Boje BPA 
av ty 


4S. 


ana’ 153 6 oo. ™ 
| FERDINAND ROYBET 


Velasquez Painting the Infanta 


A masterpiece pure and simple; a superb piece of historical genre painting. 
The figure of Velasquez, before his easel, is clothed in rich velvets, and the 
head, to say nothing of the other portions of the work, isa marvel of technique. 
The style and distinction of the work reveal themselves at a glance. 


Signed at the right. Height, 24 inches; width, 14 inches. 


Ub. dr. aad 154 UE APES sea f. 


J. G. BROWN 


Two street boys, with their dogs, making overtures to each other for a battle 
of their pet defenders. It is one of the best examples of J.G. Brown. The 
head of the boy holding the fox terrier is especially good. 

Signed at the right. Dated, 1881. 

Height, 2714 inches; width, 214 inches, 


| 
43 

The Challenge 
| 


Pu .@. 6 ; Larne 155 HE Hai i 


/ 


C A.L, JACOMIN 
The Dilettante 


A gaily dressed cavalier is seated before an artist’s easel in his studio, which 
is filled with rich properties, and is examining an interior church view. The 
artist is standing near, polite but somewhat indifferent. An effective subject 
picture. 


Signed at the left. Dated, 1873. 


Height, 25 inches; width, 20% inches. 


I Fae ae 


OIE SS Pa | CMR ee eee es ae 


wean ve 156 ys ogee 


E. BOUTIBONNE 
Skating 


A winter scene in France, at Versailles, probably, with elegantly clad 
skaters. A gentleman in velvet stands among the bronze beasts and tritons 
of a frozen-up fountain in the pzéce d’ eau. 


Signed at the left. Dated, 187s. Height, 25 inches; length, 37 inches. 


AES RS Lay 157 of, Jute 


R. S. ZIMMERMAN 


Preparing for the Rehearsal 


A band of musicians, assembled ina cottage in the Black Forest, to rehearse 
their music. Good use is made of black, blue, and bottle green in the color 
scheme, and the still-life is well painted. An effective composition. 


Signed at the right. Height, 24 inches; length, 39 inches. 


SO BP en de 158 L, 45 eee 


FRITZ NEUHAUS 
The Prince’s First Ride 


In afine apartment, the court jester, in a costume of green and blue, on all 
fours, is carrying on his back the little prince, who is dressed in tawny velvet. 
The nurse looks on approvingly. This is an excellent genre, with sincere 
painting and agreeable color. 


Signed at the right. Dated, 1880. Height, 39 inches ; width, 29 inches. 


JO a oe ro 159 Ye Dhutet 


G. HAQUETTE 


Homeward Bound 
Two old French salts in their boat ‘‘ Les Deux Fréres,”’ of Dieppe, are sail- 
ing gently but steadily into port after a day’s fishing in deep water. The har- 
bor pier is seen at the right, and the sun is sinking at the horizon. Thisisa 
poetic picture of the sea, and the general effect is delightful. The artist is 
a celebrated painter of the life of fisher folk. 


Signed at the left. Height, 28 inches ; length, 35 inches. 


Yd ee _ ina ,, 


H. PP Cagn a Me edi 
GUSTAVE ot 
Children Feeding the Family Pet 


Four children, whose heads and shoulders fill the left of the canvas, are 
hered about the manger of an aged white horse, whose head occupies the 
right of the composition. A characteristie example of Gustave Doré’s subject 


pictures, 
Signed at the left, Height, 25 inches; length, 40 inches. 
A 4. faek 161 oe TR or 0 all 
E. RICHTER 


Sappho 


An ideal conception of the lyric poetess. Her cheek rests on her right hand 
in a contemplative pose, and in her left hand she holdsalyre. The head is 
inclined forward. Her costume is a very rich one of blue and purple, with 
a sash of terra-cotta and lace,and gold ornaments. She is represented as 
stepping forth from a canopy of red and gold. 


Signed at the middle right. Dated, 188r. 
Height, 46 inches: width, 24 inches. 


‘i o/ Oe ae Wor 
GO: yf AL la oe eee Mees BE atl 
EDWARD GAY 
The Quiet River a 
There are farmhouses and cattle under the trees, and a sky dappled with ; 


fleecy clouds. Everything is reflected in the quiet river. This isa charming 
pastoral landscape, and is strongly painted. 


Signed at the right. Dated, 1880. Height, 30 inches; length, 50 inches. Be: 


al ke ny, 163 AS oT 
KARL HOFF i 


The Unwelcome Visit 


3 


Costumes of the First Empire. Ina luxurious interior, where the master of 
the house leans against the mantel puzzling over the contents of a letter, and 0 


St et ae 


his wife stands at the other side in a graceful pose, a lady visitor in cloak and 
hat is seated, and seems to await the reply to her communication that she has 
come todemand. This work is in the best style of the Diisseldorf School, and 
is very rich in color. 


Signed at the left. Dated, 1878. Height, 46 inches ; width, 32 inches. 
3 f pp 
Ao 164.76. 3. Lochvooa 
: G. HILLER 


Changing Horses in the Tyrol 


An animated scene in the Tyrol, where the diligence has stopped to change 
horsesat aninn. The travelers and servants are bustling about, and the horses 
that have been taken out of the harness are being fed and watered. The 
snow-topped mountains beyond the inn, though some distance away, have the 
peculiarly distinct appearance due to the rarefaction of the air in these high 
latitudes, and the scene is faithfully portrayed. The execution is broad and 
vigorous. 


Signed at the right. Dated, 1877. Height, 43 inches; width, 37 inches. 


ej 


/ oo ooh Ahr Ce. 
Jf 0: B.DE VOSS ¥ Loan 
The Pets Alarmed 


Three dogs have ‘‘made a mess of things,’’ and the consciousness of the 
mischief done is depicted in their expressions and attitudes. 


Signed at the right. Dated, 1856. Height, 32 inches; length, 43 inches. 


ee 166 ol. Ce 


A, VELY 
Francesca da Rimini and Paolo 


The two lovers are seated on a great, carved wooden coffer. Francesca’s 
costume consists of a beautiful white satin gown with pink sleeves, and the 
light is concentrated upon her face and figure. Paolo’s head is in shadow 
behind her. His arm is about her waist. In this fond attitude, Francesca 
reads from a book some interesting story to her admirer. This picture is one 
of Vély’s important compositions, and is fully representative of his talent. 


Signed at the right. Height, 40 inches ; width, 30 inches, 


Cl eT a 167 wae oy 
MAX GAISSER 


The Confidential Cavalier 


The man who interrupts the peasant girl at her sewing is probably commu- 
nicating a message of import to them both. He whispers it in her ear, and 
her face shows that his words are welcome. The figures are life-size, and the 
work is a strong example of a well-known painter. 


Signed at the right. Height, 41 inches ; width, 33 inches. 


Wea ce eae 168 eT st One 


LEON PERRAULT 


Azor’s Education 


It goes without saying that Azor is the demure little poodle with the lump 
of sugaron his nose. His pretty young mistress, in a dress of yellow trimmed 
with black velvet, is putting him through his paces, while a younger brother 
and sister look on with kindly interest. The figure are life-size, and the 
painting is executed in the most finished, competent manner. This picture 
was exhibited at the Salon of 1872,and comes from the T. Abner Harper 
Collection. 


Signed at the right. Dated, 1872. Height, 45 inches; width, 35 inches, 


Og le 169 ee al aes 


F. WILLEMS 


The Vow 


An important example, with two figures, of the work of the celebrated 
Belgian-Parisian artist. The lady, in a splendid gown of white satin, turns her 
head to look in her lover’s face. He is clad in green velvet with a black cloak, 
and has placed his arm around the waist of his betrothed. She is holding up 
the ring he has just givenher. The figures are most gracefully drawn, and 
everything in the picture is skilfully and carefully painted. 


Signed at the right. Height, 45% inches; width, 23 inches, 


re Oe 170 A. Ree 


Vv. CORCOS 


A Visit to the Convent 


This shows the convent courtyard, with a charming lady in white, who has 
come to visit her little daughter. She isalady of fashion, and her black poodle 
sits beside her. The little girl, in her school garb, presents a striking contrast. 
: She seems to be telling her mother of the ups and downs of her life in the 
| school, and to be receiving proper sympathy. The color scheme is in delicate 
tints with modifications of gray, and the picture shows much clever painting. 


Signed at the left. Dated, 1887. Height, 54 inches; width, 22% inches, 


OS et en he eee ef ee 


ey 17 Ji. heratadeang tx 


R. S. ZIMMERMAN 


Boys’ Industrial Home 


Nine young waifs are here depicted at work in shoemaking, under the eye 
of the good brother who, seated near the window, is examining the product 
[ of one of his pupils. The light is extremely well carried through the picture; 
the figures are full of character, and the still-life is painted with just the right 
f degree of insistence. This is a notably good specimen of German genre 
painting. 


Signed at the left. Height, 30 inches; length, 49 inches, 


eT ee See ee om a 


, SAO i ee Sea Is Conmesh 


C. LEMAIRE 


A Holiday, near Fontainebleau, in 1789 


This gay throng of dandies and belles, with several old beaux accompanying 
them, has just come upona /¢te foraine, or show in the open air. The time is 
just before the Reign of Terror. The costumes show the epoch of Louis XVI., 
and it isa good scene of lifeand manners. The landscape, painted in light 
greens and grays, forms an appropriate foil for the gaily dressed actors and 
| visitors, and the entire composition breathes an air of fun and happiness. 


Signed at the right. Height, 34 inches; length, so inches, 


g Macs poins E. mie as 


e lee omqraat 174 
| J. G. JACQUET 


Italian Girl Spinning 


This picture is not unlike a Bonnat in general aspect, and is effective in color 
and composition. The Italian peasant girl, with her distaff, is portrayed with 
a strong effect of light and shadow. Her face is very pretty and engaging. 


Signed at the left. Height, 50 inches ; width, 35 inches. 


The Conqueror Conquered 


In this episode of foreign wars, a soldier of the army of Charles IX., of 
France, with his fine breastplate, is seen sitting on a drum, while a girl of 
southern race, in crimson robe, holds his attention while she plays on a man- 
dolin. The distinguished quality of color in the picture marks it as an excellent 
example of Jacquet, and the drawing is equally notable. 


Signed at the left. Height, 56 inches; width, 38 inches. 


AD ot role 175 


V. PALMAROLI 
The Storm 


A lady, with her novel, her shawl, and parasol, is hurrying across the beach, 
with her little girl in a white frock and blue sash and leghorn hat ; for these 
summer costumes would not suffice to protect them from the approaching 
storm. The execution is excellent, as is usual with this clever artist. 


<~Go. 


Signed at the right. Height, 53 inches ; width, 25 inches. 


ar a | 176 


Bg 


4. * W. SCHUTZE 
Blindman’s Buff 


This party of children, in the time of Louis XVI., are all amusing them- 
selves at their play, except one little boy near the balcony of the chateau, who 
is dissatisfied about something. On the terrace beyond, their elders are seen 
taking tea. 


Signed at the right. Height, 35 inches; length, 50 inches. 


PATO. 


ely ae, 


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vay A as 177 ait hay ae 


H. THOMPSON 
Landscape and Sheep 


In an old roadway leading up a hill, with gnarled apple trees on the right, 
is a flock of sheep and an old woman with her staff and her black sheep dog 
beside her. The sheep are painted in the masterly manner usual with this 
excellent artist, and the landscape, fine in color, shows vigor of handling. 


Signed at the left. Height, 31% inches; length, 45 inches. 


ein 178 Jive. i Ti omen 
JULES RAVEL © 


Rustic Day Dreams 


A young girl, sitting in the window seat, has dropped her distaff, and ceased 
spinning to read a love story, which she holds in her hand. She now looks out 
of the window, as her thoughts wander in castles in Spain. The room is a 
peasant’s home, which has formerly been the hall of a great castle, but is now 
a farmer’s humble dwelling. 


Signed at the right. Height, 38% inches; width, 32 inches. 


Mae mi eo 179 X. Av ‘ Pewee 


¢ F. A. BRIDGMAN 


Afternoon Hours 


An Oriental interior, showing the women of the harem embroidering and 
chatting in a sunny corner. Through the wide window, gardens, trees, and 
minarets are seen. The color is rich, the sunlight brilliant, and the shadows 
are atmospheric, From the Mary J. Morgan Collection. 


Signed at the left. Dated, 1883. Height, 25 inches; length, 36 inches. 


Des ae 180 CC Ue 


HERMAN TEN KATE 


A Forced Contribution 


Soldiers have taken possession of the house, and are making themselves at 
home, smoking and drinking in the chimney corner. The master is at the 


mercy of the stern officer who is in command, and is forced to hand over the 
key of his strong box. Two servants are carrying it into the room, and the 
forced contribution is about to be made. 


Signed at the right. Height, 24 inches; length, 35% inches. 


A 
O.a. Yor, 181 A Ph 7 


P. OUTIN 
“Good-by, Grandpa!” 


Grandpa with his gouty foot on a cushion, sits at the fireside in his big chair. 
The little girl, who is about to go out with the zownou and baby, is not so intent 
upon getting away as to forget the loving old gentleman whose favorite she 
is. The story is very well told, and the painting is clever and careful. From 
the A. T. Stewart Collection. 


Signed at the right. Dated, 1878. Height, 31 inches; width, 2534 inches. 


yyy a 
“ CLAUDE LORRAINE 
Port and Harbor of Marseilles | 


This composition shows the porch of a temple and a castle on the left. On 
the right are trees and a castle beyond. The sun is in the center, and there are 
ships on the sea in the middle distance. In the foreground are men and 
boats. The light is diffused from the middle, and the general effect is one of 
classic arrangement. The painting of the foliage and the temple porch 
should be specially remarked. 


Height, 24 inches ; length, 30 inches. 


tf. ee Lo. 183 Dia ae 


PETER KRAEMER A 
Portrait of a Monk 


‘The monk wears a costume of white, and is a venerable, white-haired person- 
age. Heseems to be reflecting on the possibilities for good or evil contained 
in the contents of the flagon in his hand. This canvas is treated with skill 
and sympathetic feeling. 


Signed at the left. Dated, 1879. Height, 29 inches; width, 24 inches. 


: 
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7 
: 
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= epi i Saag oa ea Ga a a a 


H. LEROLLE 
The Wanderer 


On the left, at the roadside, a young peasant woman rests herself from the 
footsore tramp of a longday. Before her stands a shepherdess, who converses 
with her while her flock is watched by the faithful sheep dog. In the fields, 
brushwood fires are burning, and the sun is setting in a cold autumn sky. 
There is much poetic sentiment in the picture, and it is painted with authority. 
From the George I. Seney Collection, 1891. 


3 673° iy 184 ee ye cone 
‘ ye 


Signed at the left. Length, 31% inches; width, 25 inches. 


185 
EMILE VAN MARCKE 


Cows in a Pool 


Three fine animals are here seen up to their knees in the cool water of a 
stream which flows through the pastures. Inthe foreground, a brown and 
white cow forms the center of interest. Another is farther into the stream, 
and a third is on the left, wading away from the others. On the left are tall 
i trees, which cast cool shadows over the pool, and to the right is a prospect of 
< hills and meadows, with a gray sky. 


Signed at the left. Height, 26 inches; length, 36 inches. 
; Mi H Sou ; < . 
e ) AS Dd P CAD) , 186 ’ Or. « chiutl, 


/ JULES WORMS 
Before the Alcalde 


This seems to be a case of ‘‘ breach of promise of marriage.” A man and 
two women are just in front of the porch where the mayor is sitting. A priest 
looks over the latter’s shoulder, and there are people who have followed the 
interested parties, in the background. The story is well told, and character in 
the types and local color are admirably given. 


* Signed at the left. Height, 27 inches; length, 39 inches. 


ae 
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ae 


187 Aten ii 
A. LUBEN 


Bavarian Log Runner 


This hardy fellow follows the dangerous calling of running logs on the flood, 
and is accustomed to peril. In the picture he is taking a drink froma bottle 
at the cupboard, and, perhaps, is not so much trying to keep up his courage 
as to refresh himself after a hard day’s work. Incolor this canvas shows a 
fine harmony of grays and browns. 


Signed at the right, Height, 3044 inches; width, 22 inches. 


rio Bic. I88 ee Ole 
LEON DE ESCOSURA 


The Visit to the Chateau 


The scene shows the courtyard of the castle, partly in shadow from the 
softy walls. In the foreground stands the warder with his bunch of keys, 
and emerging from the archway, in the middle of the picture, is a gay party of 
ladies and gentlemen. An old beau holds a parasol over the head of a pretty 
young woman in a lilac gown, and the visitors, in their bearing and costume, 
present an interesting record of bygone days. 


Signed at the left. Dated, 1876. Height, 25 inches; length, 30!4 inches. 


Li Teeth ¥ op: 189 =. 6575, 7” 


ADOLPH SCHREYER 


Hungarian Draught Horses 


A large and in every way important example, admirable in its subdued 
color scheme and its strength of handling. The light is conventionally dis- 
tributed so that it falls with fine effect on the straining horses in the fore- 
ground. The treatment, inthisrespect, resembles the work of some of the Old 
Masters. The faces of the overworked animals tell an eloquent story of their 
daily toil over such roads as the one in this picture, where the cartwheels sink 
to the hubs in the mud. The scene, with the shouting drivers, is one of 
great interest and animation. 


Signed at the left. - Height, 27 inches; length, 5334 inches, 


oe 7d: o -I90 oy Ji = . Commeh 


| M. DE MUNKACSY 
: . Too Much Mother-in-law 


The young couple are at the breakfast table, and the young wife with the 
pretty face has been crying. The husband is behind his newspaper. The 
mother-in-law, in her street costume, crimson cape, with fur and crimson 
bonnet, a self-possessed looking person, is standing near at hand, addressing 
reproaches to the man of the house. This large genre is handled with Mun- 
kacsy’s accustomed skill. 


ee NP REET ON We ee 


f Signed at the left, Height, 40 inches; length, 57 inches, 
f , yO 
if CO a Bh gl A Aiea Bridie 
iB E. STANECK 
Bon Voyage 


This great white ship is just leaving a Mediterranean port for a long voy- 
age, and is represented in the picture coming bow on to the spectator. The 
effect is majestic. She is a noble vessel, and is rapidly leaving behind her the 

land, with its rocky hills and the steamers that lie under their lee. A striking 
i, piece of color, and a picture full of the fine feeling of the sea and its ships. 


Signed at the left. Dated, 1886, Height, 57 inches; width, 44 inches. 


Oy. “> 192 QC. Ha ee 
AFTER RAPHAEL 
The Sistine Madonna 


An excellent copy of the original in the Dresden Gallery, painted by Theo- 
dore Schmidt, director of that museum. 


Height, 56 inches; width, 4134 inches. 


Ue ol 5 « wi 193 Di? Ge 
EDOUARD DUBUFE 
The Pacha’s Favorite 


i, Beauty, luxury, and ease speak from the features of this petted sultana. 
‘a She lies on her couch with her knees drawn up, her head in half-tone, anda 


book ia her hand, The masses of light and shade are effectively managed, 
and the color is attractive. This picture is a representative and important 
example of the work of a very notable painter. 


Signed at the left. Dated, 1872. 
Height, 44% inches; length, 56% inches. 


ef Penta g er 194 PA Se a a yi 


CARL VON PILOTY 


Elizabeth and Frederic of Bohemia Receiving 
News of the Loss of the Battle of Prague 


Prague, the capital of Bohemia, in the year 1620, had two kings at war with 
each other, Frederic V., supported by the Protestant Prince of Germany, and 
Ferdinand, by the King of Spain and the Catholic League. Sunday morn- 
ing, November 8, 1620, is the time of the dramatic scene represented in this 
masterly historical picture. ~The room in the palace is crowded with figures. 
Elizabeth is seen standing behind Frederic. His mother, a daughter of Wil- 
liam of Orange, sits on his right. The English ambassadors are in the back- 
ground, The musicians are throwing down their instruments in alarm. The 
messenger who brings the news of the disaster is on the left of the central 
group. He wears the style of armor used by theprinces in the Thirty Years’ 
War. Armor in the first part of the seventeenth century was becoming a thing 
of the past and was used for display more than for service. Its introduction, 
therefore, in this composition is seen to be appropriate. There is masterly 
work inthe execution of these heads and figures, and the ensemble is both 
dramatic and artistic. This great picture may well stand as one of the best of 
all those painted by the famous Munich master, as he painted nothing in every 
way more complete and successful. 


Signed at the left. Dated, 1868. Height, 4: inches; length, 65 inches. 


| C TRE 195 AY DO 


| F, XAVIER WINTERHALTER 


- Susanna and the Elders 


In this interpretation of the well-known apocryphal story, the life-sized : 
nude figure is seen in profile view, with the head turned to the spectator. 
The draperies are crimson and blue. The figure detaches with fine effect 
from the surroundings. From the A. T. Stewart Collection. 


Signed at the right. Dated, 1866. Height, 6324 inches; width, 45 inches. 


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| 3 0. | 106 G-Je, COM 
a Jj. E. LEMAN | 
Homage to the Dauphin, 1638 


A faithful and most interesting historical picture. The infant son of Louis 
XIII. and Anne of Austria is being presented to the court to receive its hom- 
age. This is the royal babe who afterward became Louis XIV., ‘‘ Le Roz 
Soleil.” To conjure up from the past, after a lapse of two and a half cen- 
turies, a court ceremony of this description ; to bring the dead to life ; to clothe’ 
them with historical accuracy, and make them move, speak, and act, as the 
painter has done in this work, is a difficult undertaking. It is equally difficult 
to handle so many personages with such a wealth of brilliant color, and pro- 
duce an ensemble that will not be confused. Both tasks have been success- 
fully accomplished in this remarkable picture. The joyous queen mother and 
the royal father will be at once recognized. The other personages, beginning 
on the left, are the following: 


Lady of Honor (in front), Marshal de Bassompierre, 


Madame de Lausac, Duke de Chevreuse, 

Princess de Guéméné, Duke de Longueville, 
Princess de Condé (Geated), Duke de la Trémouille, 
Countess de Soissons, Duke de Liancourt, 

Duchess de la Trémouille, Duke de Chavigny, 

Duchess de Montpensier (young girl), Bishop of Beauvais 

Duchess de Bouillon, (King’s Confessor). 


Height, 42 inches; length, 75 inches. 


| W. LINDENSCHMIDT 
Luther and the Reformers at Marburg, 1529 


In this fine historical work there are over twenty figures grouped about a 
large table witha green cover. Luther’s impressive figure is on the right 
facing the others across the table. The heads are full of character, and the 
composition is natural but so arranged as to give prominence to the great 
Protestant leader. The color scheme is rich but subdued. Preéminently a 
master work. From the Mary J. Morgan Collection. 


Signed at the left. Height, 55 inches ; length, 79 inches, 


T. HILDEBRANDT 


Lear Awakening from Insanity 


King Lear is seen seated in his chair, with Cordelia before him bend- 
ing over with her hands clasped as she questions him. The Shakspearian 
lines are well illustrated in this impressive composition. From the A. T. 
Stewart Collection. 


Signed at the left. Height, 69 inches ; width, 68 inches. 


6 . Ue A ie Hh io if mh % : 


ADRIEN MOREAU 


Rehearsal of Richelieu’s Tragedy, “Miriam.” 


A most sumptuous scene, with the great cardinal-minister of Louis XIII. 


in his red robes, seated in his great red chair of state, while an actor in blue ty 

and steel-colored velvet declaims before him. Ladies and gentlemen of the a 
court are present in numbers. The apartment is one of the splendid rooms of : a 
the Louvre. It isa fine study of the types of nobility, and of life and manners, 1 oe 

under Louis XIII., and it is painted by one of the most talented of modern ay “i 
French artists. It is one of the most important and successful of his many a: 
pleasing works. it 

Signed at the left. Dated, 1879. Height, 46 inches; length, 70 inches. i | 

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THIRD AND LAST NIGHT’S SALE 


Friday, January 2oth, at 8 o’clock 


AT CHICKERING HALL 


es 


AAS, ka 200 Be G  hbbory 


KARL F. SOHN 


Aire PIT 


Traveling Locksmith 


A clever little study of a young man, all in brown, seated on a stool, with 
his big key ring by his side. It is executed with care and precision, 


Signed at the right. Dated, 1836. Height, 1114 inches; width, 7 inches. 


Cae PP 201 1h In In Se 


GEORGE H. McCORD 


Autumn in Westchester 


Re | 

a Cabinet landscape, with a sunset sky and crescent moon. The church spire 
| in silhouette against the evening glow adds poetry to the conception. A 
charming bit of painting. 


Signed at the left. Height, ro inches; width, 8 inches. 


OTTO PILTZ 
Grandma Tea Drinking 


The old lady is represented with saucer and cupin hand. Excellent in char- 
acter and color; skilfully wrought. 


Signed at the upper right. Height, ro inches; width, 8 inches. 

i a 

5 Me ae, 
A» . In : names 203 b Py Hae, 

H. BALLVE 


Gathering Fagots in the Forest 
There are great dark trees in the foreground, and the light falls on the 


woods, up on the hillside, where two women are engaged in gathering fagots 
to load on their donkey. A clever wood interior. 


Signed at the right. Height, 15 inches ; width, 11 inches. 


' > é; 20. ~~ 
Des o, /3 ee far 4 bi had em 
A. TAMBURINI 
The Choice Vintage 
The cellarer of the monastery is carrying a cask of fine wine, the bung sealed 


with the tape, wax, and ring of the abbot. This he eyes somewhat longingly. 
Excellent example of Tamburini. 


Signed at the upper right. Height, 12 inches; width, ro inches. 
fo: 205 
Os Meme Barger ¢ as Pe pe 
/GABRIEL MAX Pc On 


Sister Agnes 


This head of a nun with costume of black and white is wistful and sweet in 
expression. Thecolor scheme is very simple, and the aspect of the picture is 
one of distinction. It is carefully and artistically painted. 


Signed at the upper left. Height, 6 inches; length, 8 inches. 


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LX, Ral sesh gms HS 206 | wie. i 


LEON DE ESCOSURA 
Portrait of the Artist 


This is a cabinet portrait of Escosura, painted by himself and presented, as 
the inscription on the canvas shows, to Mr. Powers. The head is turned full 


face to the spectator, and the execution is clever and characteristic. 


Signed at the left, ‘To Mr. Powers, Flint, Mich., 1888,” 
Height, 8 inches ; width, 5% inches. 


HANS MAKART 
The Church Door 


The door is partly open, and within are seen the light of a stained glass 
window and the end of a carved and gilded pew. This isa strong study by 


the great Viennese artist. 
Signed at the left, Height, 154% inches ; width, 12 inches. 
ahs 208 
Yi, (0) ay eee 
‘ ) {7 AAN 6 oo 
H. DANGER 


French Girl 


This little canvas is worthy of Alfred Stevens, and might well have been 
signed by him. It isa head of a charming blonde Parisienne, with a bodice of © 
pink and gray, and a bow of yellow ribbon at the throat. A fine bit of color. 


Signed at the middle right. Height, 13% inches; width, 11 inches, 


209 vie pa erent: 
W. C. BEAUQUESNE 
The Alarm 


A chasseur with his head hastily bandaged, where he has been wounded, 
has run to a great doorway to inform the troops within of an unexpected 
assault.. The figure is strongly put in with effective notes of red made by the 
trimmings on the uniform. 

Signed at the right. Dated, 1887. Height, 16 inches; width, z2 inches. 


eA. 210 of 


EMMA E, LAMPERT 
Woman with Fagots 


An old woman with a bunch of fagots, which she has placed on the ground 
while she rests. The landscape setting is painted in pretty tints of gray and 
green. The scene is local to Grez, near Fontainebleau. 


Signed at the left. Height, 16% inches; width, 11% inches. 


. O 
a} Re. Soto 211 Ae 
| DAVID TENIERS (THE ELDER) 
Diana and Her Nymphs 
The goddess, with red drapery, is at the left of the composition. In the 
right foreground are her hunting dogs. The nymphs are seen somewhat 


farther away. A vista of landscape is pictured on the right. The canvas is 
in excellent preservation. 


Signed at the left. Height, 1o inches; length, 18 inches. 


uh, J J agurre 212 oa eee 
| U C. DE HAGEMANN 
Camp in the Desert 
A typical desert scene at an oasis with palm trees, plants, and Arabs’ tents. 
A horseman is before the tents, and other figures are seated on the ground. 


The African atmosphere is well rendered, and there is a fine sky of blue with 
some white clouds. 


Signed at the right. Height, 15 inches; width, 12 inches. 


: aa eg oe es 
: *\oe SH PLAN yr son's Pa he 
E. T. GUISSER 
Soldiers Playing Cards 
Four brilliantly dressed cavaliers of the time of Louis XIII., about a tablein 


a somber apartment and intent on their game. One of them is in a perplexed 
state of mind as to what card to play. A carefully finished cabinet picture. 


Signed at the left. Height, 12% inches; length, 14 inches. 


POuieo ma ndhy 214 O. & 
REGINALD CLEVELAND COXE 
The Narrows, New York Harbor 


The scene is enveloped in a light gray mist. A big liner is seen coming into 
the upper bay, and a couple of fishermen are pulling away in their yawl in the 
foreground. The color is very delicate, and the composition simple but 


effective. i 
Signed at the right. Height, 9 inches; length, 13% inches. 
Vee fis 215 ae ¥. Prone 
4 


A, ‘RICCI 
Reading 


An elderly cavalier, period of Louis XIII., with a buff jerkin, sits in his big 
chair with a flask of wine on the table, his pipe in hand, and his book to keep 
him company. 


Signed at the right. Height, 13 inches; width, ro inches. 


mae. 216 (i Gtivimatt | 


F, DEFREGGER i 
Portrait ; 
Cabinet head of a young woman, excellent in color and firmly painted. 
Signed at the left. Height, 8% inches; width, 6 inches. 
oy re a7 AL. Diy cael 
H. BRELING of q 


The Jolly Fiddler 


This little cabinet picture is broad in handling, but well finished. It repre, , 
sents a man wearing a Louis XIV. waistcoat of white playing on his beloved 
instrument. 


Signed at the upper right. Dated, 1874. 
Height, 9 inches; width, 6 inches. 


4 


WILLIAM H. BEARD 
“Go When I’m a Mind To” 


A study of monkeys by this humoristic painter. The picture tells its own 
story. 


Signed at theleft. Dated, 1880. Height, 12 inches; length, 15 inches. 


. Yale 219 “2 bat 


ANTON SEITZ 
The Card Players 


In this little composition a man and a woman are seated at their game ata 
table, while a child looks on, The setting for the figures is a typical Tyrolese 
interior. Very close finish. 


Signed at the right. Height, 8inches ; width, 6 inches. 


ae W. C1 BEAUQUESNE 
Bugle Call 


The sturdy figure of a French cavalryman in the courtyard of the barracks, 
effectively relieved against the walls and the sky of gray. 


Signed at the right. Dated, 1882. 
Height, 133g inches; width, ro inches. 


eee Ud om 
Wt of. thwarts F. STREITT eet eat 
An Accident 


Four or five itinerant musicians in a snowy roadway, with one of their num- 
ber in distress. A passing peasant woman points to an approaching sleigh as 
a chance of relief. The scene is local to Poland. 


Signed at the left. Height, 8% inches; length, 16 inches, 


Ann 218 PMN cig 2 LP Aik 


Atay he Heer ae 


ile zea AS: Coa 


C. DE HAGEMANN 
Lost in the Desert 


An Arab on his camel is shading his eyes with his hand as he scans the 
horizon in the effort to find his bearings. The sdzse en scéne, consisting of the 
sands of the desert, and a blue sky tempered with dust in the air, is effective, 
and sets off the figure to advantage. 


Signed at the left. Dated, 1873. Height, 15 inches ; width, 12 inches. 


an 223 A. mn. Rindiony 


C. KRONBERGER 
“Couldn’t Resist It” 


The younger of the two graceless rogues about to be locked up cannot 
resist the temptation to steal the constable’s handkerchief as he bends over 
to unlock the padlock of the jail door. With the snow on the ground, the dark- 
blue uniform of the constable, and other effective color notes, this little genre 
deserves to be ranked with the best art of the Munich School. 


Signed at the left. Height, 14 inches; width, z2 inches. 


os. = 


T. ROUSSEAU 
Landscape 


A stretch of country with valley and river, hills and mountains. The skyis 
gray. This little picture bears an unmistakable air of truth, and it is broadly 
and frankly laid in. Especially notable for its color harmony of blonde tints. 
From the George I. Seney Collection, 1885. 


Signed at the left. Dated, 1856. Height, 9% inches; length, 14 inches. 


vs O ae 225 AG XS 


J. B. C. COROT 
The Village Church 


A gem among the remarkable early works of the great Corot, which bear 
the impress of so much sincerity and possess so much pure artistic feeling. Up 


the roadway beyond the church are seen a few figures. The sky is filled with 
a white clouds. The greens and clay yellows in this delightful picture are 
A, wonderfully subtle, and the composition is exceedingly happy. From the 
_ George I. Seney Collection, 1885. 


Signed at the right. Height, 13 inches; length, 18 inches. 


7 CF, DAUBIGNY 
Springtime 


Apple trees in blossom, rich dark green grass in the meadow, a path lead- 
ing toa cottage inthe middle distance, and a tender sky of blue and warm 
white. The work is characteristically treated, and shows breadth of handling 
and puissant color. From the H. L. Dousman Collection. 


Signed atthe left. Dated, 1876. Height, 13% inches; length, 12 inches. 


bits Ge CAZIN 
Night 


A roadway runs through the village, with houses on the right in the moon- 
light. On the left are trees and bushes. The stars are seen in the sky, and 
the picture impresses as being a characteristic and beautiful work by the cele- 
brated French Jaysagiste, whose high reputation is due tohis poetic fancy and 
admirable technical achievements. 


Signed at the right. Height, 14 inches; length, 18 inches. 


A Dn. Kenda ay 228 vias 
! FDOUARD ZAMACOIS 


Levying Contributions 


This important work by a master painter was finished in 1866, and exhibited 
at the Paris Salon of 1867. Inthe hall of a grand seventeenth century chateau 
a begging monk receives entertainment at the hands of his roguish hosts, He 
is seen seated on a bench, sipping a cup of chocolate, while an elderly cavalier, 


Pe GQ, thal, 220.5 ae TOD oe 


SEAGEDA ¢ Sar. nan BRC 9 


a young lady, and a young gallant form a group about him. The young man 
seems to be reading verses, a love poem, probably, from a manuscript copy, 
and accompanies some subtle point with a gesture full of meaning. The 
older man stands at the right of the monk in a pose suggesting authority and 

a sense of pleasant mockery and humor. Particularly worthy of note are the 

heads of the elderly cavalier and the monk. The young lady, in blue, is very 

cleverly painted, and her hand, resting on the arm of the bench, is equal, 

technically, to anything to be found in the pictures of the Old Dutch Masters. 

The composition is so admirably disposed, and the story so well told, that the 

picture may be ranked very highly, both from the point of view of subject 
genre and artistic achievement. This picture attracted much notice at the 

Salon of 1867, and is to be marked as a rare example of a painter whose works 

it is almost impossible now to acquire. It is in every way representative. 

From the J. H. Stebbins Collection, 1889. 


a Signed at the left. Dated, 1866. Height, 12 inches; length, rs inches. 
4 9 eo 2 Le he ory 
4 a 2 Wy a+ : ‘ 

S JOSEPH COOMANS . 

‘ A Classic Beauty 

4 Head of a girl, with her hair dressed 4 da Greegue and a pink drapery over 
| her shoulder. The expression is attractive, and the painting is highly finished. 
A Signed at the right. Dated, 188. Height, 17 inches ; width, 1334 inches. 


AW 


ear . 


OS ea 


U.P a0 os eh Janrdletiocs te 


et pea 


% 

. L. CROSIO | 

: ; 
i‘ The Lecture | q 
S ' 
5. A gentle reproof is being administered by the mother to her little daughter. e 


The costumes and accessories are of the Louis XVI. period, and there are ‘ 
effective contrasts of color, notably in the notes of black and yellow. 7 


‘ Signed at the right. Height, 1914 inches ; width, 13!4 inches. 
| Bas wo 231 Dh Poe 
; T. W. WOOD a 


oo a 


“T Reckon” 


An old farmer, in his well-stocked barn, is counting on his fingers. An 
American genre subject. 


Signed at the left. Dated, 1877. Height, 20 inches ; width, 24 inches, 


232 Oe ee a j 
A, KOWALSKI 
A Ride in the Park ; 


This is an admirable canvas, as good, in its way, as a Meissonier. Two 
gentlemen, in seventeenth century costumes, the one with a coat of mouse 
color and the other in red, are riding their horses—one iron gray and the other 
dun color—through the park. The season is in the autumn, and bare trees 
and a sky of dull gray, white, and patches of blue appear above the marble 
terraces. The execution is thoroughly artistic and of the cleverest sort, while 
the color is delicate and delightful to the eye. 


Signed at the left. Height, 12% inches; length, 17% inches. f 


Ce @~-o 


im. 3 gma a 233 as 
| ETER KRAEMER 


A Knight 


This is a strongly painted head of a man wearing a helmet, whose counte- 
nance is stamped with shrewd benevolence. 


Signed atthe right. Dated, 1880. Height, 18 inches ; width, 14 inches. 


Bo Uh eer 234 ME To itis 
AUGUST FINK 
Landscape and Cattle 


A landscape which is very pleasant in tone with a dark gray sky, a group of 
dark foliaged trees in the middle, and cows in the pastures. 


Signed at the right. Height, 13 inches; length, 21 inches. 


WG ed. so a cpm 


L. E. ADAN 
Marguerite 


A graceful, attractive figure in a lilac gown. Out through an archway 
appears a courtyard with a well, and women drawing water. This charming 
picture is painted with the skill and distinction that characterize the work of a 
popular and very clever artist. From the J. Abner Harper Collection. 


Signed at the right. Height, 1534 inches; width, 1234 inches, 


EE Se a a re = ~ —— “ -_ — oveweonven . ” tthe mp REAR 


fe seid 236 oo 
M. ARNOUX 
The Old Hunter 


An old man is seen before the fireplace warming his hands, while a little boy — 
holds his gun and a little girl tantalizingly holds up a rabbit before the good 
dog that has helped to kill it. A fine little genre picture with good, quiet color. 


Signed at the left. Height, 18 inches; width, 14% inches. 


Po iat 237 £. J. otalie 
GEORGE H. STORY 
A Cape Ann Fisherman 


A weather-beaten, white-bearded old man, seated with his pipe in his hand. 
A careful, conscientious study of a toiler of the sea. 


Signed atthe left. Dated, 1879. Height, 18 inches; width, 12 inches, 


ro. we 238 Jie oh /° Haro 
LOUIS BRUCK-LAJOS 
Rehearsal 


An artist, in a suit of brown velvet, is at work in his studio, while, in the 


foreground, a lady and a cavalier are amusing themselves singing a duet. 
Costumes and accessories of the time of Louis XIII. 


Signed at the right. Height, 17% inches ; width, 14 inches. 
, 
de ete 239 JL. A. Ahanrat 
sad J. G. VIBERT 


Inspecting the Fort 


A view on the ramparts of a fortified castle in the olden time. On the left 
a sturdy old retainer, with his arquebus planted before him, stands near a 
highly polished cannon on a massive carriage. The royal banner floats 
proudly above his head. Beyond,a party of ladies and gentlemen are looking 


_ about under the guidance of a young officer. This isa picture of great merit 

and much individuality. It is remarkably well painted, and notable for its 
excellent drawing and the faithful reproduction of an episode in earlier days. 
From the George I. Seney Collection, 1885. 


Signed at the left. Dated, 1867. Height, 17 inches ; length, 28 inches. 


“by 240 | A ie ae RAL al 
er ms G. WRIGHT 


The Smoking Room 


There are overa dozen passengers inthe smoking room of this Atlantic 
liner, and thereis dirty weather outside, as may beseen through the open door. 
This is a familiar scene to all ocean travelers, and it is depicted with fidelity. 
The effects of color, atmosphere, and smoke are cleverly rendered. 


Signed at the right. Dated, 1880. Height, 15 inches ; length, 31 inches. 


1. Say 241 Gr, oP? 
Wg) uy 4 : ae ne 
J KEMENDY YENO 
The Téte-a-Téte 
A pretty genre, with a story told by the man and the woman whose velvet 


armchairs are hitched together, and who seem very happy in each other’s 
society. 


Signed at the right. Dated, 188r. Height, 17 inches; length, 24 inches. 


Ws Ds aa 242 I Ne 


Ci BH CHAPIN 
Moose Lake, Adirondacks 


CWater Color) 


A carefully studied landscape in greens, grays, and white. 


Signed at the left. Dated, 1883. Height, 18 inches ; length, 30 inches. 


Nolim apts 243 Pu. ~3 
A. DE GROSSI 


The Jolly Cavaliers 
(Water Color) 


Here is a group of cavaliers in a courtyard and two pretty girls to flirt with. 
A good example of the Roman Water Color School. Painted in very brilliant 
tints. 


Signed at the right. Dated, 1882. Height, 21 inches; length, 30 inches. 


ae us om 9. Clean 
a L. GABANI 
Moorish Prisoners 


(Water Color) 


Half-nude men under guard of a soldier in blue. For a Roman water color 
this is somewhat somber in tint, but it is none the less excellent. 


Signed at the right. Height, 25% inches ; width, 19 inches. 
se 245 oy. A Tee ae 
a F, FASCE 

A Bird that can Sing, ete. 
(Water Color) 


The admirers of this kitchen beauty are trying to coax asong from her. The 
scene isin a wine cellar. Painted in the brilliant tints of the Roman School. 


Signed at the right. Height, 21% inches; length, 30% inches. 


? a YD 246 Jy , Srglfam 
. E, ZAMPIGHI : | 


The Gun-maker of Tangiers 
(Water Color) 


The gun-maker is nude except for a loincloth. He is seated on a rug and 
examines a long gun which two Arabs have brought for his inspection. 


Signed at the right. Height, 29% inches; width, 20! inches, 


G. SIMONI 


Cavalier and Jester 
(Water Color) 


z. This picture shows extraordinarily clever work in watér-color painting. The 
ai washes are simplicity itself, yet they ‘“‘model’’ beautifully. Especially to be 
noted are the treatment of the jester’s red costume and the carved coffer on 


“ which he is seated. 


Signed at the right. Dated, 1879. 
Height, 14% inches; length, 20% inches. 


G. ae 


Harem Interior 
(Water Color) 


A highly finished water color, with minute detail painting. 
Signed at the right. Dated, 1882. Height, 9% inches; width, 6% inches. 


ot 


J. G. VIBERT 
Rehearsing 


A cardinal, in his brilliant robe, is playing on his bass-viol before a lectern 
of bronze which holds his score. A Spanish hat and jacket, hanging on the 
wall, indicate that the room is the sacristy of some great Spanish cathedral. 
It would be difficult to find anywhere a more complete, brilliant, or more 
charming cabinet picture by Vibert, than this example. 

Signed at the left. Height, xz inches; width, 7 inches. 


CG. Tovth ¢o/orr 750 YP By 
D, A. C. ARTZ 
Gathering Wild Flowers 
CWater Color) 


Little Dutch peasant girls gathering blossoms in fields near the sea. It is 
pretty in color, and cleverly washed. 
Signed at the right. Height, 14% inches; width, 9% inches. 


Bisex 247 : EAM tes ae 


me ei #49 A On Ge 


By, boa ttin. HGF PISO. 


sy ia es asx A» Jota 
LOUIS EUGENE LAMBERT 
The Pet Kitten 


Lambert is undoubtedly the best painter of cats and kittens in modern art. 


He chooses no other subjects. This isa delightful little picture of a kitten. 
with a big sky-blue bow at her neck, with her head turned to one side. 


Signed at the right. Height, 14 inches; width, 11 inches. 


/ ayy | 
LN asa het, toarlter, 
A. TAMBURINI 
Hard Luck 


An old monk looking at his cards and wondering how he shall play to avoid 
being beaten. A representative cabinet picture by this clever artist. 


T 


ssn Kies 
Ne RR STS 


Signed at the upper right. Height, 11% inches; width, 10 inches. 


LENO, &D 253 eh ee 


J. A. DE GRAVE 


< 


School Recess 


ame ae 


¥ Lede TS SOOT pe oP eave be x z Oa ee 
z oa Sey eae Bes aes hs ee PC RE Og, 
ae PON TE EE a TELETYPE ETE PORE NE MES UT TER I TIER EM ERC ST ET 


Five little tots are here sitting in a row on a low bench at recess time. The 
| A. B. C. is forgotten and the point of interest isin dolly, From the J. Abner 
Harper Collection. 


Signed at the middle right. Height, 13 inches ; width, 10% inches. 


ee} a 
eR | 2 [3 
4 an NG ae ov 34 ea Ue. AB hie 
| W. C. BEAUQUESNE 
On Guard 
A French soldier of the line standing on sentinel duty, his hands tucked in 


his coat sleeves and his arms enclosing his gun. The setting shows that it is 
acold,raw day. An artistic bit of painting. 


Signed at the right. Dated, 1882. Height, 13 inches; width, 10 inches. 


nd Hrerny Sr. 255 Dae i 


A, A. LESREL 
Soldier, Time of Louis XIII 


’ A very carefully and ably painted small figure of a man past middle age, 
but still young in spirit and strength, firmly planted on his feet and bending 
the point of his long sword on the floor. The painting of the head reminds 

' us of the work of the lamented artist Bargue. From the J. Abner Harper 
Collection. 


Signed at the right. Dated, 1873. Height, 94 inches; width, 7% inches. 


g. o, ey, 256 ene 


JAN VERHAS 


In the Boudoir j 


This charming work shows a tall and beautiful lady in a black velvet gown, 
with a gray picture hat with black plumes, and a white lace wrap over her 
shoulders, about to leave her elegant boudoir. As she parts the green and 
white silk portiéres she turns her head and makes a sign to her little lapdog, 
who wishes to follow her, but must stay at home. The technical qualities of 
this picture are of a high order, and the color scheme is most attractive. 


Signed at the right. Height, 27 inches; width, 19 inches, 


f7 Ve om 6 
Ga stm 
EMILE VAN MARCKE 
Cattle 


A fine group of two cows close up in the foreground, with a third farther off 
on the right. The attention is at once arrested by the splendidly painted dun 
color and white cow, which forms the most prominent feature of the picture. 
No less excellent is her companion, a dark red animal, gazing into space after 
the manner of cows. This isa remarkably fine piece of cattle painting, notable 
for its strength and technical beauty. From the H. L. Dousman Collection. 


Signed at the right. Height, 22 inches ; length, 32 inches. 
It 


ite, ~ 258 Jn. Firredlar ¢ GM 
N. V. DIAZ a 


Forest of Fontainebleau 


This masterly composition shows a clearing in the forest with a pool in the 
foreground. The foliage is all green and of great variety and subtlety of tint. 
The arrangement of the masses, the light, and the shadow, are admirably dis- 
posed. The painting throughout is broad and virile. From the George I. 
Seney Collection, 1885. 


Signed at the right. Dated, 1862. Height, 30 inches; length, 38 inches. 


f 

-_ i: fi 
“5 o PO 259 We a. if atten 

J. L. GEROME 

Bab-el-Zouel 


This large composition by the great French master includes many figures 
and elaborate architectural work. It is very finely finished throughout, and 
is singularly agreeable in color. The entire foreground is in transparent 
shadow, and sunlight falls on the walls beyond with fine effect. The scene is 
laid at the gate of Bab-el-Zouel, which ends the large bazars at Cairo. This 
place is always filled with people of all countries. One sees there Fellaheen, 
Jews, inhabitants of the borders of the Red Sea, people from Central Africa 
and Abyssinia, men from the Soudan, traveling merchants, purchasers, loung- 
ers, and European tourists. The composition shows two Sais, or runners, in 
white, who clear the way for a pasha on horseback. The mixed population 
forming the throng in the gate appear in a variety of picturesque and, of 
course, as Gérdme is the painter, absolutely authentic costumes. The scene is 
full of life and color. M. Géréme, in a letter to the late Mr. Powers, dated ‘65 
Boulevard de Clichy, Paris, November 16, 1886,”’ writes as follows concerning a 
most interesting feature of this picture: ‘‘ Contrary to my usual custom and to 
accede to your wish, I have signed this picture twice—the first time with my 
name and the second time with my portrait; in the right hand corner, the 
person dressed in blue. On my head there is a green turban, to which I have 
no right, because only those who have returned from a pilgrimage to Mecca 
may wear it. It istrue that I have been very near that holy city. This work 
is therefore doubly authenticated.”’ 


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Signed on the wall on the right, just above the head of the artist’s own 
portrait. 
Height, 39 inches ; width, 25% inches, 


| A0rranol  UGTY G aa 6 eS Gels 
; EUGENE FROMENTIN 
Arab Falconer 


Falconry in Algeria is the exclusive sport of high Arab chiefs. In this 
noble picture, the falconer on his horse is galloping at full speed with his 

_ right hand extended upward. On his hand sits one of the falcons, another 
perches on his head, the third is flying close behind. The figure and horse are 
full of life and motion. The workis highly finished and richincolor. It was 
painted for M. Durand-Ruel ; etched by Milius for the catalogue of the collec- 
tion of Lepal-Cointet, Paris, and was purchased from that collection in 188x. 
It came to Mr. Powers from the celebrated collection of Albert Spencer. 


Signed at the left. Height, 42 inches; width, 28 inches. 


1 5.4. ie 261 PA on. 4? 
| M. DE MUNKACSY 
Feeding the Favorite 


A rich drawing-room in which two ladies, one in blueand the other in pink, 
are sitting at a table whereon are seen fruit and dainties. The lady in blue is 
giving a sweet morsel tothe greyhound by herside. Thestill-life is especially 
fine in treatment, and the color throughout is clear and fresh. From the Gov. 
ernor Morgan Collection. 


Signed at the right. Height, 31 inches; length, 40 inches, 


| Ue NS 262 oe fir | fo Tae 
E. RICHTER 
The Jewel of the Harem 


A dark-skinned slave clothed in the richest of stuffs with heavy gold orna- 
ments, holds a tambourine in a graceful pose to shade her face. At the right 
we see a hall with open windows, and white minarets and a blue sky without. 
From the Dousman Collection. 


Signed at the left. Dated, 1879. 
Height, 34% inches; width, 2234 inches, 


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Siac 263 (7. Chev t Ge, 


GARCIA Y MENCIA 
El Pelel 


The effigy of Judas is being tossed ina blanket, on Easter eve, according to 
an old Spanish custom. Seven women, all gaily attired, hold the blanket, and 
men and other bystanders are looking on, The fun is going on in a carrefour, 
with shops in the square and the sky above as a background. 


Signed at the right. Dated, 1876. 


Height, 2534 inches; length, 3614 inches, 


4 , 
“ ) CO. nie 204 J 7 caMainla hsv) ; 
fi A. MAUVE 
Holland Landscape and Cattle 


A remarkably fine example from the brush of the celebrated modern Dutch 
master. Ina lovely landscape, with a pool and willows on the left, and level 
pastures, are two cows, one white, with a black head, and the other dark red. 
The sky is fine in tone, and the whole picture is delicious in color. It isa very 
strong piece of painting, and the white cow is seen at a glance to bea most 
admirable morceau. 


Signed at the right, Height, 29% inches ; length, 4214 inches. 
ih 
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J vi 0 . 265 es \ Ay 7 . 


AUGUSTE HAGBORG 
The Fisherman’s Wife 


The fisherman’s wife is young, healthy, barefooted, and brown. With her 
basket slung on her hip, and her. baby boy on her back, she is striding over 
the sands of the seashore, and presents a charming picture in her bodice of dark 
blue and skirt of brown. Thesea stretching out in the distance, and the cloud- 
covered sky over all, form a pale gray setting for this picturesque figure. 
There is much atmosphere in the depiction, and the painting throughout is 
characteristic. Itisa fine example of Hagborg’s pictures of fisherfolk and the 
sea that feeds them. 


Signed at the right. Height, 4614 inches; width, 29% inches. 


Pur ‘ sowy 266 aes 7O 
ANTON ROMAKO 
Louis XV. Sentinel 


This is not, as might be supposed, a weather-beaten soldier, but a pretty 
woman with crimson cloak and laced cocked hat with plumes. She holds a 
jeweled musket over her shoulder, and looks like a mistress of the revels. 


Signed at the right, Height, 38 inches; width, 313¢ inches. 


Peta. 267 gee ey 
T. KINDSDAEL 
The Fishing Boat 


The boat has been hauled up on the beach, and a man and a woman are 
busying themselves about it. The sea stretches out beyond. A striking effect. 


Signed at the left. Dated, 1886. Height, 3a inches; length, 57 inches. 


ee 0. fl te D9 aoe 
i BENJAMIN CONSTANT “4 


Al Fresco, Tangiers 


Here is a picture under African skies with roofs and terraces, beautiful 
women, rich costumes, and rugs. This celebrated painter is thoroughly at 
home in this class of subjects, and in this fine composition is seen in one of his 
happiest moods. The effect is in sunlight, and the upper part of the canvas 
shows the blue sky of Morocco, 


i Signed at the left, Height, 51 inches ; width, 38 inches. 

i / 26 where al 
iF . ‘ m{ No 9 iti, ee ef: r 

W. KRAY sf 


Venus Aphrodite 


This lovely conception presents the Goddess of Love in graceful pose and 
floating drapery, surrounded by nymphs and amours. The head is charming 
in type, and constitutes a superb creation, while the flesh tints of the beau- 
tiful figure are delicate and life-like. The general color scheme is pitched in 
tender grays, with warm contrasts. The composition illustrates the myth 
which represents the goddess as rising from the foam of the sea. 


Signed at the left. Height, 63 inches; width, 45 inches. 


San “ab | es 
7 a 270 Ju ‘ ae Je Teaty . 
G. JAKOBIDES a 
Children’s Quarrel 


An old woman is holding a baby on her lap, and it is pulling the hair of a 
little girl, Two other children at the table are interested spectators. The 
figures are life-size, and the painting is typical of the Munich School, the color 
inclining to grays and the drawing competent. 


Signed at the left. Height, 44 inches ; length, By) inches, 


ae. a A0a Jhard 
W. A. BOUGUEREAU 
The Little Pilferers 


A peasant girl and a child have been pilfering fruit, as it is easy to see from 
the well-filled basket in the foreground of the picture. The young girl is 
helping her little companion to climb over the orchard wall, and the action 
of both figures is expressive, and well caught by the artist. The drawing is 
masterly, as is usual with Bouguereau, and the heads, hands, and feet may 
all be noted for their grace and charm of line. The color scheme shows chief 
notes of purple, blue, white, red, and brown. A superior and very important 
example. 


Signed on the right of the canvas near the top of the wall. 
Dated, 1873. Height, 79 inches; width, 43 tachen” 


Ma 
CAT Ban ae Ab of her, 
: A, VELY 
| : The Heart’s Awakening 


{ i This is a picture which attracted great attention at the Paris Salon. A 
ee beautiful young girl, who is just reaching the age when her heart longs to 
find its deals in the flesh, is listening at the feet of a stately grande dame, 
ie b who has, perhaps, been reading to her, from the book in her hand, the story 
ie of some young and gallant cavalier. The color scheme, with its two robes of 
/ white and black, is diversified by other tints, and the ensemble is harmonious 
| 4 and beautiful. From the H. L. Dousman Collection. 


Signed at the right. Dated, 1880. Height, 96 inches ; width, 57 inches. 


| | Reburt Ril-ert, 273 BE PEON? 2, 
T. COUTURE 
Love Drives the Worid 


This splendid cartoon is a most important and interesting work by the 
famous painter of ‘* The Roman Decadence,”’ now in the Louvre. A woman 
with white drapery drives a cart of modern construction, to which are har- 
nessed a span of four men. They represent Bacchus, the Soldier, the Poet, 
and the Lover. The conception is carried out with a noble decorative sense, 
and is a unique canvas in the world of art. From the T. J. Blakeslee Coilec- 
tion. 

Signed half way up at the left with the initials ‘“T. C.” 

Height, 58 inches ; length, 83 inches, 


EGS Spa Ad aga vo 


age 
AUGUSTE HAGBORG 


October. The Potato-Gathering 


This is the masterpiece of a celebrated Swedish painter who is identified 
with the modern French School, and has won many honors at the Salons and 
Universal Expositions at Paris. The pictureis in every way complete, and 
impresses the beholder by its sentiment and its hardy and virile technical 
achievement. The group of the laborer and the woman, the latter holding 
the mouth of the sack, into which the man pours the potatoes from a basket, 
is resolute in line and vigorous in execution. The head of the young woman, 
seen in profile against the gray sky, is charming in its simplicity. The man’s 
head is shadowed by his wide-brimmed hat, and forms an effective contrast 
to the other. with its forceful silhouette. The composition reveals the most 
earnest and thoroughly artistic qualities both in drawing and color, and the 
picture may be said to take rank with the best productions of the naturalistic 
school, which seeks its subjects in the picturesque life of the toilers of the soil. 


Signed at the right. Height, 100 inches ; length, 74 inches, 


C > han tourt 275 fA Ws (Seite 
Grand Clock f 


Made to order by Eugéne Cornu, movement by E. Farcot; has calendar, 
astronomical, thermometer, barometer, and other attachments, elaborate 
carved Sienna marble case, with finely wrought bronze figure, by Carrier, 
surmounting, holding pendulum. From the A. T. Stewart Collection. 


Extreme outside measurement: Height, 13 feet; width and depth, 3 feet. 


SCULPTURE 


WOd:: a 276 ae pay”. 
Marble Medallion 


“Morning.” Sculptured by William Couper, of Florence. 
Height, 18 inches; width, 18 inches. 


Moone 277 Yh ike 
Marble Medallion 


“Evening.” Companion to the foregoing, by William Couper, of Florence. 


Height, 18 inches ; width, 18 inches. 


ya 278 ria: at Masel, 


Life-size Bust 


‘“*Forget-me-not.” Sculptured by William Couper, of Florence. 


Height, 20 inches; width, 12 inches. 


Se 29 Aan. 9, 5. fact 
Life-size Bust 


“Joy.” Sculptured by Thomas Ball, of Florence. 
Height, 20 inches; width, 14 inches. 


oh a ot r 
Ay A Sew Noa 280 Dh Deige 
Marble Group 


“Confidence Betrayed.”? Sculptured by Chev. N. C. Popotti, of Rome. 
Height, 22% inches; width, 16 inches. 


‘a Gap fone 281 in Deh WT 


Marble Group 


“Flower Girl.” Sculptured by Chev. N. C. Popotti, of Rome. 
i eee Height, 46 inches; width, 17 inches, 


Dp : Pik 280 eg ie 
| Marble Group 


“The Young Hunter.” Sculptured by Chev. N. C. Popotti, of Rome. 


/ , Height, 38 inches; width, 17 inches. 

A ‘ ‘4 z st 

Dh rs es YS ¢ atl 283 x 78 4 ay 
Marble Figure 


“Sunshine.” Sculptured by Chev. N. C. Popotti, of Rome. Has ebony 
pedestal. 
Height of figure, 43 inches ; width, 14 inches. 


af 
ys Pvt Lol 284 Oo ik 
Marble Figure 


“Storm.” Sculptured by Chev. N. C. Popotti, of Rome. Companion to the 
foregoing. Has ebony pedestal. 


Height, 43 inches ; width, 14 inches. 


a A9. bara 285 Pas hi 
Marble Bust 


Life-size. Sculptured by J. A. Jackson, deceased, Florence. 


Height, 21 inches; width, 11 inches, 


of. Ye ag, L111 286 F bad ee 
Marble Bust 


Life-size ‘‘ Psyche.”’ Sculptured by Percy Wood. 


« 


Height, 22 inches ; width, 16 inches. 


Marble Group 


‘“Rebecca at the Well.” Sculptured by Andrioni, of Rome. Has marble 
pedestal, 


Height, 49% inches; width, r7inches. 


Cp 288 aa 


Marble Group 


‘“* Feeding the Bird.” 
Height, 37 inches; width, 14 inches. 


re. oe A 


Marble Bust 
“Winter.” Life-size. 
Height, 20 inches ; width, tr inches. 


VALUABLE CLOISONNE ENAMELS 
AND BRONZES 


| x. AO, Arar 290 aL of, He 


ANTIQUE VASE. Kutani faience. Tall cylindrical shape, with relief 
ornaments and handles, dark blue and green enamels with gilt 
decorations, brown crackle texture. 


Height, 24 inches; diameter, 8 inches. 


t oul ye 


LARGE JAPANESE VASE. Satsuma faience, tall cylindrical shape» 
basket or wicker work design, artistically decorated with figures 
of warriors, foliage, and other designs, in finely combined colors 
and gold ; fine creamy texture. 


a 
on 8 ; 


Height, 37 inches; diameter, 12 inches. 


| 4 Van. We elikinn. 292 Go. 


PAIR LARGE VASES. Japanese, old Arita porcelain, decorated with 
equestrian and other figures in medallion and floral designs in 


bright colors. 
Height, 40 inches; diameter, 14 inches. 


| ie | 
i / Uf 4 y ? yo as) 
beg & : Orn at Lit nts 2903 eo 3 wRY 


PAIR OLD JAPANESE VASES. Arita porcelain, tall, cylindrical shape 
with scallop top, bold relief ornamentations of flowers, rocks» 
and foliage, and painted decoration of peonies in brilliant 


enamels. 
Height, 39 inches ; diameter, 12 inches. 


PEL ROR AER BRONZE. VASE, old Japanese ornamentation of 
dragon Phoenix, cast in bold relief. | . 
Height, 36 inches; diameter, 1 


A : i Ay ie 
pes a5 


PAIR ELABORATE JARs. Old Japanese shippo or cloisonné enamel 
landscape, water scene, flying storks, and other designs i in beau 
tifully combined low tone enamels. ey 

Height, 30 inches ; diameter, 15 inches. _ 


LOL Le te 
eae 296 fF: 


PaiR PEDESTAL TABLES. For the foregoing, carved and ebonized, 


Chinese design. 
ce 30 inches ; width, 2: isch das 
ep cae 


ie TO. & 297 Be 


ParR ELABORATE GourDS. Fine Chinese cloisonné snared, gourd 
design, blossoms and inscriptions in various colors of enamel on. 


turquoise blue ground. thks 
Height, 40 inches ; ue, 19 inches. i 
FO. 


Vets Bae sai pie re 


Pair PEepESTAL TABLES for the foregoing, carved, and cbonteedl 
Chinese design. 


:. 


“i CARVED EBONIZED TABLE. Elephant design. : 
Height, 29 inches ; diameter, 22 inches. Wes 4 


THE AMERICAN ART ASSOCIATION, 


MANAGERS, _ 
THOMAS E. KIRBY, 
AUCTIONEER. 


A RE Rg) Pepin ey ee NA e WD Pe ee, SD PRP SME aT Te RS AES eON URS PE Geer TS Renee, WY ee ane 


GETTY RESEARCH INSTITUTE 


TAO 


3 3125 01662 8212 


